I looked at the origins of The Many Loves of Dobie Gillis, one of the best TV sitcoms, last month. Here are some further thoughts on the series as it evolved during its second through fourth seasons.
One of the most often remarked-upon aspects of The Many Loves of Dobie Gillis – something I omitted from the first half of this piece just because I’m tired of reading about it – is the starry supporting cast. First there was Tuesday Weld, who at sixteen-going-on-thirty was already three years into her unique career as the American cinema’s greatest nymphet; according to Dwayne Hickman, Weld really was Thalia Menninger, prone to cutting her leading man dead with lines like “For heaven’s sake, don’t be such a simpleton” and “You act like a farmer.” (Hickman and Weld had both been in the film version of Max Shulman’s novel Rally Round the Flag, Boys! – surely a factor in their casting on Dobie Gillis, even though Shulman’s screenplay for Rally was rewritten and he disliked the film.) The third point of the first-season love triangle was an unknown Warren Beatty, minutes away from stardom; although histories of the show and Nick at Nite ads have given Beatty an outsized prominence, he appeared in only five episodes as conceited rich boy Milton Armitage before leaving to make Splendor in the Grass. The first season also unearthed, for one full episode and a few moments of another, the likes of a twenty-one year-old Michael J. Pollard, filling in for Bob Denver, who was drafted but then kicked back, Maynard-like, by the army as a 4F. (On-screen justification: Maynard’s allergy to khaki, and a hardship discharge – hardship for the army, that is.)
Pollard is very funny in “The Sweet Singer of Central High,” but his kooky rhythms threw Shulman and the rest of the cast for such a loop that they were relieved to get Denver back. For movie buffs, of course, the tantalizing aspect of this brief confluence of before-their-time casting is the Bonnie and Clyde connection: Had only Weld, the first choice to play Bonnie (a role that then went to Faye Dunaway), not turned down Beatty’s and director Arthur Penn’s offer, Dobie Gillis would have assembled the three principals of that breakthrough New Hollywood film, and in a not-wholly-dissimilar configuration, eight years avant la lettre.
Dobie Gillis lost the brightest stars in its constellation early on – Pollard after two episodes, Beatty after five, Weld largely after the first season – in a process of attrition that can be seen as symbolic. Dobie Gillis was an endeavor that achieved near-perfection at the outset and struggled, with mixed results, to hold onto it over the course of four zig-zagging, hit-and-miss seasons. Rarely has a show proven so malleable and restless over the course of a medium-sized run. It’s symptomatic rather than coincidental that Shulman’s creation went through three different titles in four years, contracting to just Dobie Gillis in the second season and then expanding again to the deserved possessory Max Shulman’s Dobie Gillis in the fourth.
In its sophomore-slump second year, Dobie fell victim to a remarkably encompassing array of traps that beset popular series as they age; it probably invented some of them. Overreliance on catchphrases? Check: In season two, the writers tried consciously to coin them, coming up with more clunkers (“It’s only you, Maynard”) than keepers (although I’m fond of “It’s Dobie with a B,” the exasperated response to anyone who addresses our hero as “Dopey”). Greedy, synergistic attempt to turn the star into a recording artist and a teen heartthrob? Check: Hickman’s cringeworthy yowling in “Jangle Bells” and “The Day the Teachers Disappeared” were, to put it in Krebsian terms, Sellout City. Hijacking of the show by an obnoxious secondary character, a la The Fonz or Steve Urkel? Gradual sanding off of prickly characters’ rough edges, in conjunction with a broadening and sentimentalizing of the show’s tone? Check and check. In retrospect, it’s amazing that Dobie waited until the final year to succumb to “Cousin Oliver Syndrome,” with the introduction of Bobby Diamond as a cousin, Duncan “Dunky” Gillis, who was just young enough to rehash some of the high-school misadventures that Dobie had stumbled into in the first season.
Always one of the cheapest-looking shows of its day, Dobie reduced its visual imagination even further in season two by striking the malt shop set where the teens congregated. Its replacement was a dinky assemblage of picnic tables on the lawn of Dobie’s school – a substitution of quotidian reality for fifities-iconic fantasy. (The very Middle-American Central City’s malt shop was called Charlie Wong’s and staffed entirely by Chinese: a funny, off-kilter sight gag, rescued by the fact that the non-caricatured countermen were played by actual Asian Americans and not Vito Scotti.) Other seemingly cosmetic changes – like the elimination of the bold opening animation in favor of a non-title sequence superimposed over the action, and the change of Dobie’s hairstyle from platinum-blond crewcut to average-length brown – had a similar effect of subtly scaling the show down from Tashlin-sized exaggeration to television-normal. Even the holes in Maynard’s filthy sweaters disappeared; no one wanted to see Bob Denver’s navel, least of all Bob Denver (who agitated for this advance in decorum).
The most damaging of the changes in Dobie Gillis was probably the expansion of Maynard G. Krebs from sidekick to co-star. By the middle of the second season, it was basically The Maynard-and-Dobie Show. As much as on Gilligan’s Island, Denver was a one-note actor and an acquired taste. As Dan Castellaneta would do with Homer Simpson, Denver literally eliminated an edge to his character, raising the pitch of his voice early in the first season to make Maynard sound more goofy and childlike. (The same vocal inflection carried over into Gilligan; it’s startling to hear Denver speaking like a relatively normal person in the first few Dobie Gillis episodes.) The broadening of Denver’s performance reflected a gradual shift in the series’ depiction of Maynard, from an underachieving non-conformist to an oaf whose disability-scaled imbecility was the butt of hyperbolic and sometimes cruel jokes. The dimwitted Maynard who got himself shot into outer space with a chimpanzee (in “Spaceville”) was probably easier to write than the existential Maynard who swapped jazz references and kooky jokes with beatnik chicks and Riff Ryan (Tommy Farrell), the goateed record shop owner. But he was harder to take, and less of a piece with the rest of Dobie’s world.
Maynard’s increased prominence maneuvered Dwayne Hickman into the function of straight man, for which he was well-suited. (Hickman had studied Jack Benny’s and his own mentor Robert Cummings’s reactions, and imitated them as Dobie.) The Andy Griffith Show evolved in the same direction, but whereas turning Griffith into a foil for an array of eccentrics eliminated a cornpone schtick that no one would miss, shifting Dobie into second position muted a far more valuable aspect of his series: Dobie’s fickle but insatiable pursuit of the opposite sex. After the irreplaceable Tuesday Weld left the show, Thalia was, in effect, replaced by Maynard. Dobie’s horndog instincts were never completely suppressed, but cutting back on them to emphasize Maynard’s adolescent antics made the show subtly less adult-oriented. Supposedly, the elimination of Herbert’s filicidal invective (“I gotta kill that boy”) after the first season was network-dictated, and one wonders if CBS also compelled Shulman to render Dobie as less of a perv.
The Maynardization of Dobie Gillis also left less room than before for the Sturgesian array of wacky minor characters, like Richard Reeves’s angry Officer Parmalee and Marjorie Bennett’s Mrs. Kenney, the world’s most miserly grocery shopper. The parade of Central City eccentrics gradually faded away during the second season (perhaps moving to Mayberry, to torment Sheriff Taylor), and the Dobie scripts contracted to focus on a core group: Dobie, his parents, Maynard, Zelda Gilroy, and Chatsworth Osborne, Jr., as well as his impossibly snobbish battle-axe mother (Doris Packer, better than anyone at projecting through clenched teeth) and long-suffering butler Trembley (David Bond).
Chatsworth was the spoiled-rich-kid replacement for the departed Beatty’s character, Milton Armitage, and as played by young character actor Steve Franken, he was the series’ best invention: an over-the-top spoof of clueless inherited privilege, but drawn with great specificity and wit. Chatsworth was insufferable but perversely sympathetic; deep down he knew that people only liked him for his money, and that he was something of a prisoner in a gilded cage. Franken’s beaky face and wonderfully cartoonish mannerisms (the drawn-out vowels, “DOH-bie-DOO,” the clock! of his tongue as he mimed swinging an invisible polo mallet) made him a young, live-action version of The Simpsons’ C. Montgomery Burns, who must have been at least partly inspired by Chatsworth. Shulman claimed he didn’t know any beatniks, but he had to have run across his share of cloddish prep school man-boys – which may be why I, for one, think that Chatsworth would have been a better choice for co-equal status with Dobie, and Maynard far more tolerable in smaller doses. The rich are always with us, and more inviting of satire now than ever. Beatniks, not so much.
As it turned out, though, the show became increasingly stingy in doling out the Osbornes’ appearances: Franken appeared only four times in the final season. Also during the fourth year, Florida Friebus’s role shrank somewhat, long-suffering Professor Pomfritt (William Schallert) was gone entirely, and, in the most lamentable development of all, Sheila James sat out a full six months while CBS filmed an ill-starred spinoff pilot, Zelda. Contractual shenanigans kept her off Dobie Gillis while the network decided its fate, and when James did return as a freelancer in the final season, it was (like Franken) for a meager four episodes. (James recalls that CBS rejected Zelda because her character was “too butch” – an executive’s verdict relayed to her by director Rod Amateau, and a devastating one, as James was a closeted lesbian. However, Shulman believed that both Zelda and a pilot he and Amateau made the preceding season, the very Tashlinesque Daddy-O, were set up to fail; he was later told that network president James Aubrey intended to buy neither series, but green-lit the pilots as a means of keeping Shulman and Amateau off the market and under contract to CBS.) By the end, the show’s formidable stock of talent had been depleted to the point that viewers had a weekly guarantee of just Hickman, Denver, and Frank Faylen – not enough notes for a rich symphony.
But Dobie Gillis didn’t progress along a straight downward line. One of Shulman’s innovations was to envision his series as a bildungsroman – perhaps television’s first? – and to liberate Dobie from the medium’s customary temporal stasis. In four years Dobie went through all the stages of young adulthood that were typical for his generation: high school, military service, the prospect (but not the certainty) of college, and the looming twentysomething urge to settle down (presented, for Dobie, as more of an obligation or a default than a source of enthusiasm). One suspects that young men who were Dobie’s age related to his uncertainty in navigating these changes, much as I did as a first-run Wonder Years viewer who happened to be in the same grade as Kevin Arnold. The idea of Dobie maturing as in the real world was unusual enough for TV Guide to press his creator on the reasons why. “I hate television,” was Shulman’s typically surly reply, meaning, in essence, its repetitiveness and predictability. Rod Amateau clarified for the reporter: “If we didn’t keep the show interesting, we’d lose Max.”
Shulman’s early stabs at serialization did not always go smoothly. Mid-second season episodes traversed an arc toward Dobie’s high school graduation, and then radically upended the show’s basic format by enlisting Dobie and Maynard in the army. (That drab high school courtyard set was half-heartedly redressed as a nearly identical outdoor PX, complete with the same picnic tables; who did they think they were fooling?) Although the first few scripts were funny – especially “I Didn’t Raise My Boy to Be a Soldier, Sailor, or Marine,” in which Chatsworth poses as an AWOL Maynard, and both prove utterly confounding to the regimental mentality of the army – the service comedy version of Dobie Gillis was a poor man’s The Phil Silvers Show (or even, looking ahead, a poor man’s Gomer Pyle, U.S.M.C.). Did Shulman abruptly reverse course after the army episodes were poorly received? I’ve found no evidence either way, but my guess is that Camp Grace was always meant as a temporary way station (a place to use up a storehouse of boot camp jokes) and Shulman’s destination was always college – the place where, for Shulman, the character started in the first place.
“College” is perhaps a generous term for Dobie’s institute of higher learning, the humble S. Peter Pryor Junior College (named after Shulman’s accountant). Implausibly, Shulman also contrived for not only Maynard but Mr. Pomfritt, the high school English teacher who bore the brunt of the pair’s goofing off, to matriculate as well. Jean Byron, who with Schallert would go on to play Patty Lane’s parents on The Patty Duke Show, became a semi-regular as another of Dobie’s teachers, Dr. Imogene Burkhart (an in-joke; that was Byron’s real name). Typically for Shulman, Dr. Burkhart vacillated between a positive representation of a smart, slightly sarcastic intellectual, and a shrill anti-feminist caricature. “Beauty Is Only Kin Deep,” Burkhart’s final appearance, rather viciously retrofits her as a frump with a dweeby boyfriend.
The fourth season is often described as the worst, but it’s more like the weirdest – an enthusiastic, out-of-nowhere embrace of the Tashlinesque hyperbole that had been on the fringes of the show, coming only occasionally to the fore in early episodes like the monster-movie parody “The Chicken From Outer Space” and the brilliant, bizarre “The Mystic Powers of Maynard G. Krebs,” in which Maynard develops ESP and goes on television to predict whether Nixon or Kennedy would win the following week’s election. (Shulman turned the handicap of not knowing the actual outcome into a hilarious final punchline.) Although specific pop-culture parodies had never been a primary ingredient in Dobie Gillis, during the fourth season Shulman spoofed his way through a checklist of movie and television genres: doctor shows (“A Funny Thing Happened on the Way to a Funny Thing”), cop shows (“What’s a Little Murder Between Friends” was a riff on Car 54, Where Are You?), jungle adventures (“The General Cried at Dawn”), boxing movies (“Requiem For an Underweight Heavyweight”), spy movies (“I Was a Spy For the F.O.B.”), monster movies again (“Dr. Jekyll and Mr. Gillis”), musical biopics (“There’s a Broken Light For Every Heart on Broadway”), A Face in the Crowd (“Northern Comfort”), Rain (“The Ugliest American”). Shulman must have found the great hunky-doctor face-off of 1961 hilarious: Not only did “Funny Thing” mock Ben Casey’s man-woman-birth-death-infinity opening and paste gigantic tufts of hair all over Hickman’s chest and arms (a pretty cruel dig at Vince Edwards’s hirsute appearance), but TV doctor gags also found their way into “Strictly For the Birds” and “And Now a Word From Our Sponsor.”
Inside jokes abounded in the fourth season. “Lassie, Get Lost” mentions a Tuesday Weld Fan Club, and “Peter Lawford” became a running, all-purpose zinger – why, I have no idea, although the show’s commitment to the bit was funny on its own. Overt surrealism ran rampant: “The Iceman Goeth” encloses an oil gusher in an envelope (a sight gag that ups the ante from Frank Tashlin to Jerry Lewis). “Dr. Jekyll and Mr. Hyde,” in which Maynard mutates into a busty female whom Dobie is perfectly willing to fuck, was totally bonkers. Other episodes lampooned consumer-society excess (“Too Many Kooks” has the Gillises peddling the Quickie Cooker™) or chased the tail of about-nothing minutiae in the way that The Dick Van Dyke Show had started to do. The excellent “The Beast With Twenty Fingers,” in which Herbert and Maynard each get a digit stuck in a Chinese finger trap, was an excursion into absurdism reminiscent of the time Laura Petrie got her toe stuck in the bathtub faucet. Even the introductory monologues grew strange and a little scary: the Thinker statue moved out of its cozy park and into a blackened limbo, so that Dobie appeared to be narrating the show from inside his own deranged id. Dobie Gillis’s senior year probably didn’t leave anyone wanting more, but it had an insouciant disregard for sitcom conventions that more shows could stand to go out on.
It’s difficult to trace the reasons behind the steep fluctuations in the series’ quality. Shulman said that he “had a staff of five good writers: four regulars and one occasional.” The four men Shulman found who could write successfully for the series were: Joel Kane, an Australian who wrote for dramas as often as comedies; Bud Nye, like Shulman a prose humorist, who had written for the first live sitcom, Mary Kay and Johnny; Arnold Horwitt, a Broadway lyricist (Plain and Fancy); and Ray Allen, a playwright (The Loving Couch) who was stabbed to death with a letter opener by his wife, sitcom actress Fay DeWitt (who successfully claimed self-defense), in 1965. (Allen’s first wife – who only divorced him – was the daughter of a vaudeville comic named “Blue Bert” Kenney; Allen likely named Central City’s resident battle axe, Mrs. Blossom Kenney, who first appears in an episode written by Allen, after his ex-wife. The Internet Movie Database erroneously attributes many of Allen’s credits, including Dobie Gillis, to a younger comedy writer, Ray Saffian Allen, who wrote for The Andy Griffith Show and Hogan’s Heroes during the sixties.)
Shulman’s generosity in sharing credit aside, my hunch is that all of the scripts lived or died based largely on the extent to which Shulman was available to punch them up in his own voice. Bob Denver thought that Shulman “went Hollywood” during the third season, then rededicated himself to the show during the fourth, while Darryl Hickman believed the final season was the most Shulman-deprived. Shulman lived in Westport, Connecticut – a veritable colony of early television writers, including Rod Serling and Reginald Rose – and commuted to Los Angeles to make Dobie Gillis during the entirety of its run. Hickman recalled that Shulman’s trips to Westport increased during the fourth season. I can’t determine whether it’s related to the distraction that Hickman observed, but Shulman suffered a personal tragedy just weeks after production on the series wrapped: his forty-one year-old wife, Carol, died of pneumonia on May 17, 1963.
The irregular application of the “Shulman touch” meant that, increasingly, Dobie Gillis segregated itself into two different shows with the same cast and characters: one a zany farce that plied the standard sitcom tropes, albeit with more wit and variety than most; the other a thoughtful, often melancholy character-driven dramedy that took it upon itself to contemplate the essential nature of life itself. That second Dobie Gillis manifested itself less often – in perhaps as few as a dozen episodes – but it is the one that is responsible for fans’ enduring loyalty to the series.
The blueprint for Dobie Gillis’s “mythology” episodes is the second season’s “The Big Question.” One of the show’s very few excursions outdoors (into what appears to be the loading dock of Fox Western, but no matter), it is a loose-jointed half-hour in which Dobie and Maynard simply wander around town, mulling over what they want from an uncertain post-high school future. The catalyst for this interlude of self-discovery is an essay topic – “Whither are we drifting?” – proposed by Mr. Pomfritt. If Dobie’s narration was a way for Shulman to smuggle his own logorrheic wit into the mouth of an otherwise amorphous teenager, Mr. Pomfritt (whose first name, “Leander,” was an anagram for “learned”) became a surrogate within the narrative for the adult Shulman, explicitly articulating values (some of them well outside the Eisenhower-era mainstream) that the series appeared to endorse as elements of a life worth living. In “Blue-Tail Fly,” Pomfritt advocates for substance over image in student elections. In “This Town Ain’t Big Enough For Me and Robert Browning,” effectively a sequel to “The Big Question,” Pomfritt introduces the theme that “a man’s reach should exceed his grasp,” and by way of example confesses to being a failed novelist. Mr. Pomfritt was the ethical and intellectual center of Dobie Gillis, and the kindly, non-threatening, easy-to-take-for-granted Schallert was an inspired choice to play him. Imagine how pompous much of Mr. Pomfritt’s gentle wisdom would sound coming from a more traditional authority figure type (Raymond Burr, say, or George C. Scott).
In practice, Dobie’s reach exceeding his grasp meant short-changing Zelda to pursue a prettier girl. There’s a sweet scene at the end of “Browning” in which Dobie recommits to Zelda, acknowledging his poor treatment of her; naturally, she accepts this dubious apology without protest. That detente established a kind of holding pattern for the Dobie-Zelda relationship, further explored but not advanced in the equally commitment-phobic “For Whom the Wedding Bell Tolls” and “The Marriage Counselor.” Just as Dobie all but openly conceded that Zelda was a girl to settle for as much as settle down with, so Shulman needed to keep the door open for as many pretty guest stars as possible. It was left for the TV-movie reunion, twenty-five years hence, to confirm for good that Dobie and Zelda finally ended up together.
Hanging over any possible Dobie-Zelda union, not to mention over the series itself, was the specter of Thalia Menninger. Shulman got Tuesday Weld back for two episodes in the third and fourth seasons, and probably wanted more. (“Flow Gently, Sweet Money” features the series’ favorite runner-up femme fatale, Yvonne Craig, as an identical character, even dropping Thalia’s old catchphrase “Love doesn’t butter any parsnips” into her dialogue; and there are other late episodes that could have been written with Weld in mind as well.) The second of Thalia’s encores, “What’s a Little Murder Between Friends,” treads water (although Shulman tried to rewrite it as the basis of the 1988 reunion, a script that CBS rejected wholly), but the first, “Birth of a Salesman,” is one of the shrewdest scripts.
Credited to Arnold Horwitt, “Birth of a Salesman” grasps the significance of Thalia’s return after nearly two years, both for Dobie and for the viewer. In the prologue, Dobie and Maynard speak dismissively of that gold digging girl Dobie knew back in high school. The implication is that he knows better now than to fall for such a shallow creature. In a lovely scene in the soda shop (the series had a new, smaller one by season three), Thalia’s return plays out as a reunion between lovers who never quite got over each other; it feels as if more than a year or two have passed. Now a would-be corporate go-getter, Thalia is back in Central City to tempt both Dobie and Mr. Pomfritt with lucrative jobs in sales. We see that Pomfritt’s office just a desk in a room crowded with other college administrators; he complains of spending more time with unions and contractors than students. With sympathetic characters articulating both sides, “Birth of a Salesman” is structured as a debate between pragmatism and idealism. Thalia and Herbert argue that money and security are the key to happiness; Maynard and Mr. Pomfritt make a case for the less tangible benefits of contemplative, scholarly pursuits. Dobie stays in school – for the time being – but who’s to say who is right? Shulman doesn’t stack the deck.
The undistinguished final episode, “The Devil and Dobie Gillis,” brought the series full circle, by reviving a plot from the pilot about a rigged raffle. (Several other late episodes also recycled first season storylines.) A more fitting finale would have been Bud Nye’s “The Moon and No Pence,” which reprises, and settles, the question of Dobie joining the family business as a career. Zelda has a different future in mind for him, one in which she nags Dobie into a gray-flannel-suit corporate world. In the brief glimpse we get of Dobie as a Mad Man, he’s a stressed-out philanderer, unfulfilled in his work and prone to Don Draperish dalliances with free-spirited women. Broadcast four months and sixteen episodes before the series went off the air, “The Moon and No Pence” was our last look at Dobie’s inner life.
According to Hickman, cast and crew disbanded in 1963 before word from the network arrived as to the series’ future – no goodbyes, no finales. “The Moon and Six Pence” contains enough dots to connect into an ending, in which the path Dobie finally chooses – Gillis and Son – is conventional but also, perhaps, a middle course between the opposing futures materialistic Thalia and head-in-the-clouds Maynard staked out in “The Big Question.” Not bad, although I prefer the one in the back of my own mind, in which Glenn Corbett tools through Central City in a half-empty ’Vette, drops into a nondescript corner grocery, and asks the bored-looking young man behind the counter if he’d like to go for a ride.
April 19, 2010
Last month I bought a copy of the first season of The Bill Cosby Show for six dollars in a remaindered DVD store on Sixth Avenue. That probably goes some way towards explaining why it’s taken Shout Factory, which distributes The Bill Cosby Show, four years to get around to releasing the second and final season, and only as a direct-mail exclusive.
If you’re confused about how anything Cosbyfied could lapse into obscurity or unprofitability, you should note that I’m talking about The Bill Cosby Show (1969-1971), not The Cosby Show (1984-1992). The latter is the mega-popular, audience-friendly family sitcom that kept NBC in business during the eighties. The former is the black sheep of the Cosby canon, a forgotten but far superior series in which the comedian took chances, engaged with the realities of the immediate post-Civil Rights era, and apparently annoyed the network (also NBC) enough to trigger a premature cancellation. The first name makes all the difference. Original recipe Cos is the one you want.
Backed by triple Emmy wins for his work on I Spy, Cosby executive-produced The Bill Cosby Show himself, independently. It doesn’t look or feel like any other situation comedy from the time. There’s no laugh track, no ensemble of colorful sidekicks mugging for attention. A lot of the action in The Bill Cosby Show takes place outdoors (and off the backlot). Many of the directors (Harvey Hart, Ralph Senensky, Seymour Robbie) had more experience working with dramatic material than with comedy, and the writers took care to depict Cosby’s character as a rounded, multi-faceted individual, an organic part of a well-defined environment. It would be an overstatement to call The Bill Cosby Show a “dramedy.” But it takes place in the real world, not in sitcomland.
The other aspect of The Bill Cosby Show that distinguishes it from most television comedies is that it has no set formula. It goes in all different directions. Each episode is very different from the others in its plot, setting, and even the style of humor. Cosby plays Chet Kincaid, who in press materials about the show is usually identified as a high school gym coach. That’s accurate, but incomplete, because this is not a workplace comedy. Chet is, first and foremost, a black man in Los Angeles.
In the first episode, “The Fatal Phone Call,” Chet stumbles into a series of increasingly serious misadventures while out for a morning jog. That activity is the only clue to his profession, which the series explores at its leisure. Later episodes build out the character of Chet, gradually introducing members of a large family (siblings, sister-in-law, niece & nephews, parents), various girlfriends, colleagues from work. Chet’s life at school dominates more episodes than any other subject, but many segments deal exclusively with his family relations, his sex life, or simply the scrapes that an average citizen gets into while going about his daily life.
My favorite episodes of The Bill Cosby Show fall into that last category, because they are the most unpredictable. Unencumbered by all the usual sitcom fallbacks, Cosby and his head writer, Ed. Weinberger, could craft scenarios out of any whim that struck them. “Rules Is Rules,” one of the funniest farces I’ve ever seen on television, pits Chet against an implacable public school bureaucracy in his quest to purchase a single valve that he needs to re-inflate his supply of basketballs. “A Word From Our Sponsor” sees Chet accept a role as a cereal pitchman – because, he makes clear, he needs the money. Rather than follow standard sitcom rules, the writer, Marvin Kaplan, offers a series of formless set pieces, climaxing with a howler of a TV commercial shoot in which the hapless Chet is soundly defeated by a precocious child actor and a misbehaving box of Corn Wispies. The episode falters only because Cosby seems to have improvised at length, and his timing was altered when these sequences were trimmed to fit the half-hour frame. It’s hard to imagine an episode of That Girl having that problem.
A comparison to Seinfeld may be too easy, but the best of The Bill Cosby Shows are, indeed, about nothing. This appealing minimalism reached its apex with Henry Fonda’s guest appearance in “The Elevator Doesn’t Stop Here Anymore.” Instead of giving the movie legend a meaty star turn, Stan Daniels’s teleplay casts him as a meek English teacher who gets trapped in an elevator with Chet. The pair pass the time with word games and breath-holding contests. Fonda does get to deliver a touching monologue near the end, but for most of the show he seems liberated by the chance to riff with Cosby in a series of long-take two-shots.
Cosby seems to have insisted on that setup as much as possible. In “Home Remedy” there’s an amazing four-and-a-half-minute improvisation between Cosby and Lee Weaver (a semi-regular, as Chet’s married brother), in which they reminisce about faking illnesses to score sick days when they were children. Long takes suit Cosby because he really gets going when he has strong, adult performers off of whom he can play. (Cosby is less entertaining when he’s playing with children, or doing solo schtick. The comedian foregrounded those elements in his second eponymous series, which was likable but not nearly as funny as the first one.)
Even more than Fonda, small-part actors who were often stuck playing exaggerated comic types in other shows came alive in the company of Cosby. Kathleen Freeman must have drawn on her own experience as an acting coach in “A Word From Her Sponsor,” in which she plays a drama teacher who puts a hopeless Chet through a series of detailed and authentic-sounding acting exercises. In “Let X Equal a Lousy Weekend,” Chet subs as an algebra teacher and gets stuck on a tough word problem involving amounts of candy. Enter Bill Zuckert to deliver a hilarious aria as a candy shop owner who decides that Chet is crazy when he requests a hike in prices so they’ll match his math problem exactly.
And Fran Ryan, never one of my favorite character players, is a revelation as the stern school administrator in “Rules Is Rules.” She’s playing her usual battle axe type, but it occurred to someone that Ryan’s Mrs. Beal should respond to the charm that Cosby aims at her. With a hint of a smile, Ryan betrays a secret pleasure as Chet outwits the inane red tape that Mrs. Beal is charged with enforcing. A cliched situation turns complex, warm, and real through the byplay between the two performers.
My favorite of Cosby’s sparring partners is Joyce Bulifant, the perky blonde who later appeared on The Mary Tyler Moore Show as Murray’s wife. Bulifant plays a hip guidance counselor, Marsha Paterson, who has a lively, sexy chemistry with Chet. But she disappears after a few episodes. That a romance between Chet and Mrs. Paterson (carefully identified as a married woman in the scripts) remained off-limits brings us around to the issue of race, which lies palpably under the surface of The Bill Cosby Show.
Supposedly Cosby and Robert Culp, his co-star in I Spy, agreed that the camaraderie between their characters on that series “was the statement.” Their interracial friendship was more powerful because race was never mentioned. Cosby took the same approach when he got his own series. Racial discrimination and identity politics form an important structuring absence in The Bill Cosby Show.
In “The Fatal Phone Call,” Chet gets picked up by the cops because he resembles a vague description of a burglar they’re looking for. He is a victim of racial profiling. But Cosby hedges his bets by casting African Americans as two of the police officers, and then by playing the actual criminal himself in the closing gag of the show. Chet’s uncanny resemblance to the thief means that the cops can’t be faulted for overt bigotry.
Is that a cop-out? I’m not sure. Casting a squat, bald black man who looked nothing like Cosby would have made a powerful statement, but that’s not the kind of show Cosby wanted to do. He’s more concerned with a minute study of how Chet deals with the problem: he gets exasperated, then alarmed, but he contains his emotions and plays it cool. Most TV shows in the sixties either ignored racism or railed against it, and I’ll bet that Cosby’s down-to-earth attack on the subject held more meaning for viewers who actually faced systemic racism in their daily lives.
In “The Gumball Incident,” an innocent Chet gets arrested for breaking a merchant’s gumball machine. Chet has the option of paying off the complainant, but he submits to the arrest because of his faith that the system will vindicate him. Cosby does a funny routine where he has trouble holding his booking sign the right way as the police (who are, again, multiracial) take his mug shot. The sequence conveys no explicit political message, but it’s freighted with a meaning that would not be there if, say, Ted Bessell posed for a booking photograph on That Girl.
(In case you hadn’t noticed: That Girl is this week’s banal-sitcom whipping-post.)
At the end of “The Gumball Incident” Chet reconciles with the surly storekeeper. In the interim, he has received scrupulously fair treatment by the police and the courts. The plot of the episode evokes the specter of the Watts riots – a black man is accused of vandalism by a white business owner – but Cosby chooses to paint the situation in the most optimistic terms imaginable. It’s possible to take this as naïve, and I wonder how African American audiences reacted to it back in 1969. The Bill Cosby Show’s approach to matters of race is non-confrontational in the extreme. Whenever Cosby addresses the subject, he’s pointed but indirect. A photo of Dr. King or a Ray Charles album on prominent display in Chet’s apartment contextualize him within African American politics and culture. But no one ever mentions the color of anyone’s skin.
The most potent of these unreferenced images of blackness involve Chet’s sexuality. To put it in modern terms, Chet is a player. He’s an unapologetic bachelor who lays a good line on a different beautiful black woman in nearly every episode. Chet has game, and a sex appeal that will surprise anyone who only knows Cosby as Cliff Huxtable. Chet never gets serious about any of his lady friends, and then when he does – in “The Blind Date,” which features a lovely, relaxed Cicely Tyson as a potential soulmate who breaks his heart – it carries a great deal of meaning. The Bill Cosby Show debuted just before the blaxploitation era of aggressive African American pimps and studs, at a moment when Sidney Poitier faced criticism for muting his own sexuality in films like Guess Who’s Coming to Dinner in order to court a wider (or whiter) audience. In his typically subtle way, Cosby crossed one of the last barriers for black leading men.
That’s why I’m curious about Joyce Bulifant’s departure, and why The Bill Cosby Show poured cold water on her character’s flirtation with Chet. Did Cosby oppose interracial dating? Did he worry about provoking a controversy that would overshadow his quietly progressive take on race relations? Did Cosby sacrifice Bulifant’s contributions in order to preserve the opportunity to place a variety of attractive black women in front of the camera? Or was NBC simply too squeamish to put an interracial relationship on the air in 1969?
Since I started this blog, I have acquired a reputation as a Scroogy McScrooge who doesn’t like to laugh. Except maybe when I’m kicking puppies or insulting dead actors. Yes, that’s right: a sitcom-hater. My detractors will be delighted to learn that I must be getting soft in my incipient middle age, because I have started watching Love American Style and I think it’s very funny. Sometimes.
In purely formal terms, Love American Style, which also debuted in the fall of 1969, was as novel as The Bill Cosby Show. An hour-long anthology, Love assembled three or four unrelated comic stories each week. Interspersing with these were a half-dozen or so blackout gags, all less than sixty seconds in duration and featuring a regular cast of bit players. The looseness of the format made the show feel more like a variety show than a sitcom, even though the material was typically sitcomic, right down to the laugh track. The success of NBC’s free-form Laugh-In the previous year probably inspired ABC to dilute Love‘s structure and content to appeal to a wider audience.
A popular, five-season hit in its day, Love American Style has since acquired a reputation as a uniquely cringeworthy relic. The show is redolent with nehru jackets and paisley party shirts, but the reason it’s dated now is because it didn’t tell much truth. If the show had anything real to say about love or sex or relationships, its disinterment for DVD in 2007 wouldn’t have inspired a long say wha? in the New York Times, of all places. Love took the easy route – it reduced its subject to a card-file of cliches, hoary vaudeville routines, and adolescent male fantasies.
The premiere episode, which was probably shot and broadcast first because it broached a “controversial” topic, concludes with a sketch entitled “Love and the Pill.” The segment unfurls a dialogue between the parents of a teenaged girl and her mod young boyfriend. Revealingly, the character who’s absent while the other parties discuss her reproductive rights is the teenager who may or may not be using the pill. The big joke – wait for it – is whether or not the parents (Robert Cummings and iconic TV mom Jane Wyatt) will opt to mash up a contraceptive and spike their daughter’s food with it.
Love American Style is always like that. Its default perspective is vaguely establishment and relentlessly male. It takes a traditionally “female” genre (romance) and twists it into leering sex farce. The funniest episodes are those in which a dweeby or creepy young man comes up with some clever trick for wearing down the resistance of a beautiful woman. (If that sounds familiar, it may be because Judd Apatow’s modern, acclaimed “adult” comedies and their imitators founder on the same shoals of arrested development.) Segments that revolve around middle-aged or elderly couples, or African Americans, usually play like musty old vaudeville routines. Likely that’s because the youngish, white, male executive producers, Jim Parker and Arnold Margolin, couldn’t be easily budged from a point of view that came naturally to them.
Were a viewer to marathon-watch Love American Style today, the casual sexism would grow toxic. But I did say that I liked this show, didn’t I? Yes, that’s the shame: within its limits, here and there, Love American Style delivers laughs.
One reason for that is the anthology structure. If you got tired of dropping in on Marlo Thomas and Ted Bessell year after year, you could click over to Love American Style, safe in the knowledge that this week’s quibbling couple would make their exeunt in twenty minutes or less. This knowledge must have appealed to the writers even more than to the viewer, because they could end a script without having to return their characters to the same stasis they were in last week and would still be in next week. Occasionally, a Love American Style segment takes advantage of that freedom and goes in for a bawdy laugh or out on a strange tangent.
“Love and the Living Doll,” in which Arte Johnson romances a blow-up doll in order to make a neighbor girl jealous, teeters intriguingly on the boundary between icky and cute. “Love and the Watchdog” fetches some clever telephone humor out of a dognapping scenario (the owner wants to hear the dog bark before she’ll pay a ransom). “Love and the Dating Computer” chronicles a botched blind date between two guys whose names are Francis and Marion, who find that the computer matched them perfectly in every other regard. What sounds like an exercise in homophobia turns witty and endearing once it becomes clear that the writers, Michael Elias and Frank Shaw, aren’t going to coat the budding bromance with a layer of gay panic. And the casting is inspired: Broderick Crawford has great fun playing against type as a sensitive, lonely bachelor.
Then there’s the segment in which newlywed Stefanie Powers tells husband Gary Lockwood that his mouth is too small, and he tries to prove her wrong by fellating a doorknob. It’s called, yes, “Love and the Doorknob.” I really don’t know what to say about this absurdist gem, except that suddenly I want to know more about the private lives of Doris and Frank Hursley, the soap opera royalty (they created General Hospital) who wrote it.
Only two things are worth mentioning about the tiny throwaway sketches that Love American Style used as a connective tissue between the main segments. The first is that they made a star of sorts out of the rubber-faced Stuart Margolin (brother of Arnold Margolin, and later to play Angel on The Rockford Files), who was the only actor in the seven-member ensemble with any talent. The second is that the “Love American Style Players,” as they were billed in the closing credits, were interracial (two black, five white). That makes these otherwise innocuous vignettes as much a snapshot of network television’s take on race at the end of the sixties as The Bill Cosby Show. It’s no surprise that Love American Style’s ideas on this subject are far more squirm-inducing and out of date than Cosby’s. Partly that’s an accident of casting: Buzz Cooper, the African American romantic lead of the group, deployed an array of slack-jawed, sho’ nuff expressions that Willie Best would have envied. (Cooper was replaced for the second season.)
But the more troubling aspect of the short sketches is that while the cast is interracial, the couples are always of the same race. The vignettes pair off the seven performers in every possible heterosexual combination, except for mixed race couples. After the first few episodes, Love American Style’s avoidance of that possibility becomes a pregnant case of passive racism. I never understood why it was such a big deal when, in March of 1969, William Shatner and Nichelle Nichols enjoyed an interracial kiss in an episode of Star Trek. Now I’m starting to get the picture.
Correction (1/22/14): The original version of this piece misidentified the writer Frank Shaw (as Frank Davis).
December 30, 2009
Even though the decade doesn’t really end for another year (don’t get me started on the subject of the Year Zero), everyone is playing favorites this month, and I can’t resist joining in. Typically, I’ve come across plenty of discussion about the best movies of the “aughts,” but not a whole lot about the highlights on the small screen during the same years.
I haven’t written much about “new” TV in this space, mainly because the launch of this blog two years ago coincided with a notable dip in the quality of both network and cable offerings. But I’ve always insisted on defining “classic” as good rather than just old. Here, then, are some remarks about the shows that I think stand as the finest of the past ten years. (Yes, they’re in order of preference.)
1. Veronica Mars (UPN/CW, 2004-2007). A howl of class resentment masquerading as teen angst, this po-mo Nancy Drew update mined revenge-fantasy gold with its sly premise: Veronica, a middle-class townie among decadent rich kids in a seaside SoCal town, uses the private eye skills she learned from her ex-police chief father (the wonderful Enrico Colantoni) to claw her way up the socioeconomic ladder. Who wouldn’t want to relive their high school years armed with a Nexis password and a skeleton key to the principal’s office? Newly-minted star Kristen Bell nailed the title role, cultivating a smart, sullen reserve that explained how Veronica could be beautiful (and capable of belting out a rockin’ karaoke cover of “One Way or Another”) and still a perpetual outsider. Rob Thomas’s neon-lit neo-noir never took the easy way out, always treading instead into darker places than you thought a UPN show could go: Veronica spent the first season tracking down the rapist who took her virginity. At the heart of the show was a touching filial bond – daughter and father against the world – but even there trust was not sacrosanct. When Veronica swiped a clue from his private office safe, Dad said nothing . . . but changed the combo.
2. The Wire (HBO, 2002-2008). If its teenaged target demographic could overlook the Marxist underpinnings of Veronica Mars, there was no ignoring the class concerns of David Simon’s masterpiece, an epic survey of Baltimore’s haves and have-nots, from wretched crack addicts all the way up to scumbag politicians. Jaw-droppingly ambitious and intelligent, The Wire earned a rep for complex plotting (“it’s more like a novel than TV,” was the backhanded critical refrain). But the characters were the reason to watch; they were perhaps the richest and most unpredictable in the history of television, and often the writers seemed to make choices simply to find out what one of their creations would do in a particular circumstance (Prez … as a teacher?). The inattentive recoiled from The Wire’s final season when the putative protagonist, homicide detective Jimmy McNulty (Dominic West), finally stepped outside the hypocritical professional code that had triggered his self-destructive rampages in the past. Never mind that the groundwork for this act had been laid carefully for years: there are things that TV heroes just don’t do, and The Wire violated that covenant. In granting Jimmy some measure of peace at the finale, the series reaffirmed the most essential and sagacious of its basic tenets: that our systems may be unsalvageable but that the people within them always merit respect. Season Five also served up the best of the show’s trademark civic-arena subplots. Simon staged a heart-rending tribute to the beat reporting from whence he came with his canonization of an old-school, anti-corporate newsroom editor (an astonishing Clark Johnson, also a key director on the show). Dare I point out that East Side/West Side, forty years earlier, also closed by invoking the death of independent journalism as a self-referential metaphor?
3. The Sopranos (HBO, 1999-2007). If people were generally redeemable in Simon’s vision, the other David – David Chase – saw humanity as corrupt to the core; HBO in the aughts boiled down a Manichean debate between the conditional optimism of The Wire and the misanthropy of The Sopranos. Indeed, The Sopranos’ central conceit that the mafia are just like us extended, over time, into a premise that every person is trapped in a prison of his or her own making – that we all repeat the same patterns of destructive behavior over and over again in an unbreakable cycle. Consider Carmela’s endless but always deluded personal re-inventions, Janice’s interchangeable scumbag boyfriends, and of course the gradual decimation of everyone in Tony’s inner circle: viewers who played the game of guessing who would get whacked next missed the forest of existential despair for the trees. Delighting in the visual contrast between mob violence and the bland New Jersey suburbs, Chase foregrounded his mockery of tracksuits and Starbucks until The Sopranos verged on full-out farce; by the end it had more in common with Seinfeld, the original Show About Nothing, than with The Godfather.
4. The Office (NBC, 2005- ). Because the original British series was note-perfect, this adaptation seemed doomed, until (during the second season) showrunner Greg Daniels found ways to rebuild its structure to fit the American TV custom of more episodes and open-ended network runs. One strategy was to shift the focus somewhat from megalomaniac manager Michael Scott (Steve Carell) to a uniformly hilarious supporting cast of office oddballs, most of them played by non- or semi-professional actors. Another was the use of melodrama – long-running, off-and-on story arcs like Dwight and Angela’s bizarre romance, or Michael’s feud with Toby – as the structural foundation for the gags. Over time, these complicated subplots began to mimic real life, so that The Office’s jokes became interchangeable with the you-had-to-be-there insider humor of our own workplaces. Best of all, Daniels and company – and it is a company, of performers and writers who, judging from the leftover scenes on the DVDs, improvise far more than is customary in the sitcom form – enjoy challenging their audience’s complacency. Jim, the sardonic slacker who provides our easiest point of identification, begins to come off as smug and entitled when he gets the girl or works for a normal boss. Meanwhile, Michael’s dim-witted worldview seems a bit less infuriating after he meets an adorable soulmate (Amy Ryan, doing a comic version of her character from The Wire). If there’s a message here, it may be that work makes us all kind of insufferable.
5. Arrested Development (FOX, 2003-2006). So corrosive in its sensibilities that it was destined to become a cult item, Mitchell Hurwitz’s dazzling satire attacked the American dream with a buzzsaw. (Literally – much of the action took place in a house that was sliding into oblivion.) The Bluths were a family of crooked Orange County land developers who were not just decadent and kooky, but utterly narcissistic and vile. Incest – between the semi-retarded Buster and his perpetually soused mother; between the two tweener cousins; between the “normal” brother Michael and his maybe-sister (played by Jason Bateman and his actual sister, Justine) – was a frequent narrative possibility, and also the key metaphor in the show’s attitude toward the sanctity of family. Arrested Development skirted so close to ugliness that I was poised to tune out until the most extreme characters, like the semi-retarded Buster (Tony Hale) and the sexually confused Tobias (David Cross), gradually worked their way around to being funny instead of just creepy. What removed this show from Married With Children territory was its capacity for intricate verbal and physical farce. As the seasons mounted (only up to three, alas), flocks of throwaway gags – like the one where teenaged Maeby stumbled into a successful career as a Miramax development exec – recurred and extended to the point that Arrested loyalists were rewarded with a laugh on every line or background action. By the time Buster, the luckless Oedipal casualty with a dominant mother named Lucille, was maimed by an animal that escaped from his magician brother’s act – you got it, a loose seal – it seemed as if the English language itself might have evolved just to suit the show’s needs.
6. The West Wing (NBC, 1999-2006). Aaron Sorkin’s presidential drama was so much a product of the Clinton era that I’ll bet many viewers have forgotten it was, save for the first few months, a show of the aughts rather than the nineties. With its fantasy of a Wilsonian academic as president and a court of White House insiders who were philosophers as much as pragmatists, The West Wing was a tonic that helped many of us endure the Bush debacle – even though Sorkin was more likely to turn a New Yorker article into a C-storyline than to tackle any fiery lefty talking points head-on. Sorkin’s exit just past the midpoint cost the show its brilliant Gilbert-and-Sullivan walk-and-talks, but the maligned “John Wells years” made some acceptable substitutions. Wells’s core of new writers found flaws in the characters Sorkin had deified, and took a chance on a Robert Drew-derived pseudo-documentary civics lesson during its final Jimmy Smits vs. Alan Alda election storyline. This was the last, and nearly the best, in the now extinct tradition of the eighties-vintage, character-driven large-ensemble drama.
7. The O.C. (FOX, 2003-2007). The initial premise was thin, but irresistable: a prince-and-the-pauper variant by which a semi-orphaned delinquent (Ben McKenzie) befriends the son (Adam Brody) of the rich Orange County couple who adopt him. The two teens engage in a form of mutual gate-crashing: the poor kid, Ryan, gains access to a world of privilege and opportunity, while geeky Seth trades on Ryan’s bad-boy cool factor to become popular. Add some autobiographical sincerity from creator Josh Schwartz; a raft of snarky, self-referential improvisations by breakout stars Brody and Rachel Bilson; and just the right amount of a grounded truth in Peter Gallagher’s lovely performance as Seth’s mensch of a dad – and you have the feel-good show of the decade, a perfect dream of the way your teen years should have been but weren’t.
8. The Shield (FX, 2002-2008). Was Vic Mackey, the epically crooked cop at the heart of The Shield, a subhuman monster or a vigilante saint? I had no doubts about my own opinion of him, and at first I thought creator Shawn Ryan was taking the easy way out by playing the Archie Bunker card – that is, making Mackey (a ferocious Michael Chiklis) charismatic enough to serve as a rallying point for conservative viewers and leaving the rest of us to root for the massing horde of vengeful gangsters, politicians, and internal affairs cops to take him down. But Vic Mackey turned out to contain multitudes: the ever more torturous and rickety amalgam of rationalizations that enabled Mackey to see himself as a defender of family and innocence rather than a murderer and a thief made him a compellingly ambivalent and complex anti-hero. As Vic’s poison cascaded downward, everyone in his path (wife, kids, partners, bosses) struck similar bargains with themselves in order to keep the Mackey Problem at arm’s length; some of them, namely the brilliant but troubled serial-killer specialist Dutch (Jay Karnes) and his morally irreproachable partner Claudette (CCH Pounder), spun off into equally fascinating mini-stories of their own. The Shield sustained an adrenaline-fueled pace that few shows could match, and constructed a vast, grungy world of L.A. lowlifes (on both sides of the law) that made it the best James Ellroy adaptation that’s not actually a James Ellroy adaptation.
9. Boston Public (FOX, 2000-2004). Running on fumes after the intoxicating nineties (Picket Fences, Chicago Hope, The Practice, Ally McBeal), the written-out David E. Kelley delivered one more of his quirky, sensitive, beautifully observed character dramas for the new millenium. As unconcerned with teen life as a show set in a high school can be, Boston Public (like Mr. Novak forty years earlier) scrutinized the diverse mix of personalities who made up the mostly dedicated teaching staff of an inner-city campus. Kelley’s respect for this impossible profession was consistently moving, as were many of the individual performances (especially that of Nicky Katt, as a teacher whose passionate involvement with his students’ problems was complicated by perpetually poor decision-making skills). As often happened in Kelley’s best work, a prickly but soulful loner came to occupy the show’s emotional center; in this case, it was vice principal Scott Guber (Anthony Heald), a much-loathed martinet with an unnoticed compassion for his students and an unrequited crush on a young teacher (Jessalyn Gilsig). Guber’s unlikely friendship with the world-weary principal, Steven Harper (Chi McBride), set the stage for the decade’s most poetic two-handed acting to come from a pair of relatively unknown character players.
10. C.S.I. (CBS, 2000- ). A victim of its own success, C.S.I. dropped off the critical radar after it tainted its brand with a pair of wretched spin-offs. But the original version maintained its status as the most satisfying mainstream genre show on the air for most of the decade, thanks less to the clever forensic mysteries and the tiresome “bullet-cam” stylistic tics than to the well-rounded cast. The whole ensemble understood that underplaying was the only way to build characters amid the torrent of technobabble, and star William Petersen maintained a poker face that kept science guru Gil Grissom an enigma all the way up to his 2009 exit. The handful of episodes written by Jerry Stahl (which introduced the world to “furries” and “adult babies”) revel in their gleeful perversity and sexual frankness, and collectively they represent a kind of morbid humor that remains rare on television. You can only get away with that when you’re number one.
Although I have a pet peeve about top ten lists that morph into “top seventeen” lists, I will comment on a few shows that merit some sort of honorable mention. I wish I had found room for Jenji Kohan’s Weeds (Showtime, 2005- ). Its writing is uneven and sometimes lazy, but also hilariously, unapologetically profane (“cockamole on her faceadilla” gave me my loudest laugh of the decade) and perfectly attuned to the weird personas of Mary-Louise Parker and Kevin Nealon. Nip/Tuck (FX, 2003-2010) has insight, fine performers (especially Julian McMahon and Boston Public castoff Jessalyn Gilsig) and, crucially, some of the most vibrant and empowered women characters on television. But the consistent streak of cruelty in Ryan Murphy’s world finally turned me away. Six Feet Under (HBO, 2001-2005) and Alias (ABC, 2001-2006) could have made the list, had either of those very different shows carried the depth and urgency of their first two seasons forward into their last three. 30 Rock (NBC, 2006- ) has overcome most of my initial resistance, and hit some kind of zany peak in its third year. Fastlane (FOX, 2002-2003) gets the “guilty pleasure” vote: this forgotten one-season cop show catalogued the mindless pleasures of empty banter, expensive man-toys, sexy ladies, and explosions with an infectious glee and a surplus of style.
And while I love Mad Men (AMC, 2007- ), something (maybe just the fact that I haven’t seen the most recent season) kept pushing it out of my top ten. Like its hero, Don Draper, the show has a way of holding back just when it should burst forward. Will Mad Men’s undeniable excellence last long enough to earn it a spot in the next decade’s list? Somehow, I doubt it – but then, I’m not sure if I’m going to last that long, either.