Television Legends
July 03, 2010
by David Krell
david@davidkrell.com
In the 1986 song Modern Woman, Billy Joel sings, And after 1986, what else could be new?
Nothing if you consider the return of two television legends to the small screen
Their television personas were extraordinarily familiar to us.
Andy Griffith appeared as Atlanta-based attorney Ben Matlock in Matlock. The show aired on NBC from 1986 to 1992 and then switched to ABC where it aired from 1992 to 1995.
Matlock was a Harvard-educated but folksy defense attorney who had strong friendships with his staff and opposing counsel.
In the spring of 1986, Griffith reprised his hallmark role of Sheriff Andy Taylor in the NBC tv-movie Return To Mayberry. Its tremendous success, nostalgic appeal, and safe familiarity undoubtedly influenced NBC and Griffith to find a new but familiar television vehicle for him.
Simply, Matlock is Perry Mason by way of Sheriff Andy Taylor.
Former Andy Griffith Show co-stars Aneta Corsaut and Don Knotts made guest appearances on Matlock.
Unfortunately, Lucille Ball did not fare so well in the Fall of 1986.
She returned to television with the sitcom Life with Lucy on ABC. Co-starring with Ball was her familiar foil, Gale Gordon. He played her in-law. On the show, the daughter of Ball’s character was married to the son of Gordon’s character.
Life With Lucy only lasted a couple of months.
Aaron Spelling produced Life with Lucy with Douglas Cramer and E. Duke Vincent. The sitcom starring an aging but appealing legend contrasted with Spelling’s shows based in adventure, glitz, and glamour. Vega$. Charlie’s Angels. Hotel. The Love Boat. Hart to Hart.
During the mid-1980’s, nostalgia abounded. In the 1985 box office blockbuster Back to the Future, the story recaptured a slice of life in 1955, complete with fashion, music, and popular culture indicators.
Return to Mayberry recalled a simpler time when a transistor radio was the groundbreaking technology achievement for teenagers compared to the 1980’s Sony Walkman or today’s iPod.
Life with Lucy brought back the biggest comedienne of the 20th century in a pre-TGIF family sitcom.
Lucy was a grandmother in the show, not the young or middle-aged housewife or mother we remembered fondly from decades past. Was the show a mistake? Were the physical antics of a 75 year-old woman frightening rather than entertaining for the audience?
Maybe. Maybe not.
But there’s nothing wrong with bringing back a legend to recapture previous glory. The failure of Life With Lucy doesn’t make Ms. Ball’s work on the program any less significant compared to her other work on more popular shows.
She was, indeed, the same Lucy. She gave 1000 percent for her fellow castmates and the audience.
As Peter Allen once sang, Quiet please. There’s a lady on the stage. She may not be the latest rage. But she’s singing. And she means it.
david@davidkrell.com
In the 1986 song Modern Woman, Billy Joel sings, And after 1986, what else could be new?
Nothing if you consider the return of two television legends to the small screen
Their television personas were extraordinarily familiar to us.
Andy Griffith appeared as Atlanta-based attorney Ben Matlock in Matlock. The show aired on NBC from 1986 to 1992 and then switched to ABC where it aired from 1992 to 1995.
Matlock was a Harvard-educated but folksy defense attorney who had strong friendships with his staff and opposing counsel.
In the spring of 1986, Griffith reprised his hallmark role of Sheriff Andy Taylor in the NBC tv-movie Return To Mayberry. Its tremendous success, nostalgic appeal, and safe familiarity undoubtedly influenced NBC and Griffith to find a new but familiar television vehicle for him.
Simply, Matlock is Perry Mason by way of Sheriff Andy Taylor.
Former Andy Griffith Show co-stars Aneta Corsaut and Don Knotts made guest appearances on Matlock.
Unfortunately, Lucille Ball did not fare so well in the Fall of 1986.
She returned to television with the sitcom Life with Lucy on ABC. Co-starring with Ball was her familiar foil, Gale Gordon. He played her in-law. On the show, the daughter of Ball’s character was married to the son of Gordon’s character.
Life With Lucy only lasted a couple of months.
Aaron Spelling produced Life with Lucy with Douglas Cramer and E. Duke Vincent. The sitcom starring an aging but appealing legend contrasted with Spelling’s shows based in adventure, glitz, and glamour. Vega$. Charlie’s Angels. Hotel. The Love Boat. Hart to Hart.
During the mid-1980’s, nostalgia abounded. In the 1985 box office blockbuster Back to the Future, the story recaptured a slice of life in 1955, complete with fashion, music, and popular culture indicators.
Return to Mayberry recalled a simpler time when a transistor radio was the groundbreaking technology achievement for teenagers compared to the 1980’s Sony Walkman or today’s iPod.
Life with Lucy brought back the biggest comedienne of the 20th century in a pre-TGIF family sitcom.
Lucy was a grandmother in the show, not the young or middle-aged housewife or mother we remembered fondly from decades past. Was the show a mistake? Were the physical antics of a 75 year-old woman frightening rather than entertaining for the audience?
Maybe. Maybe not.
But there’s nothing wrong with bringing back a legend to recapture previous glory. The failure of Life With Lucy doesn’t make Ms. Ball’s work on the program any less significant compared to her other work on more popular shows.
She was, indeed, the same Lucy. She gave 1000 percent for her fellow castmates and the audience.
As Peter Allen once sang, Quiet please. There’s a lady on the stage. She may not be the latest rage. But she’s singing. And she means it.
1960's Space Craze
July 03, 2010
by David Krell
david@davidkrell.com
NASA’s Golden Age of Mercury, Gemini, and Apollo during the 1960’s inspired television decision makers to use space as a theme.
I Dream of Jeannie featured Larry Hagman as Tony Nelson, an astronaut in the starring male role. Several scenes featured Captain (later Major) Nelson’s job responsibilities at Cape Canaveral, known as Cape Kennedy from 1963 to 1973. Nelson lived in a small house in Cocoa Beach with Jeannie, a beautiful blonde genie played by Barbara Eden who couldn’t stop herself form trying to help her master. Nelson met Jeannie after his space capsule splashed down and he washed up on the beach. He found her bottle, opened it, and out came Jeannie. He rescued her and she served him as payback. Eventually, they married.
Set in the future, Star Trek explored worlds, universes, and planets. The U.S.S. Enterprise went where no man had gone before. Essentially Wagon Train in space, Star Trek showcased the adventures of the Enterprise staff. The episodes were often allegories about peace, war, brotherhood, and racism.
Lost In Space showed us a space launch gone awry. A space takeoff on Swiss Family Robinson, Lost In Space depicted weekly adventures of the Robinson family on strange planets. Initially, the Robinsons’ mission is to colonize space for the United States. A foreign agent, Dr. Zachary Smith, caused the Robinson’s space craft to malfunction. His efforts backfire as he can’t leave the space craft before it launches. Smith becomes the comic relief, foil, and wacky neighbor character.
The Twilight Zone had episodes with a space theme. The Little People tells a lesson about bullying.
Astronauts William Fletcher and Peter Craig encounter a malfunction with their space ship, so they land on a planet to make repairs. Craig discovers an area inhabited by people who are the size of ants. He destroys their property and declares himself their god. He forces them to build a statue of him. Fletcher finishes repairing the space craft but Craig wants to stay. You reap what you sow. Two giant explorers from another planet are repairing their ship. One accidentally kills Craig. The “little people”are ecstatic and they bring the statue down.
david@davidkrell.com
NASA’s Golden Age of Mercury, Gemini, and Apollo during the 1960’s inspired television decision makers to use space as a theme.
I Dream of Jeannie featured Larry Hagman as Tony Nelson, an astronaut in the starring male role. Several scenes featured Captain (later Major) Nelson’s job responsibilities at Cape Canaveral, known as Cape Kennedy from 1963 to 1973. Nelson lived in a small house in Cocoa Beach with Jeannie, a beautiful blonde genie played by Barbara Eden who couldn’t stop herself form trying to help her master. Nelson met Jeannie after his space capsule splashed down and he washed up on the beach. He found her bottle, opened it, and out came Jeannie. He rescued her and she served him as payback. Eventually, they married.
Set in the future, Star Trek explored worlds, universes, and planets. The U.S.S. Enterprise went where no man had gone before. Essentially Wagon Train in space, Star Trek showcased the adventures of the Enterprise staff. The episodes were often allegories about peace, war, brotherhood, and racism.
Lost In Space showed us a space launch gone awry. A space takeoff on Swiss Family Robinson, Lost In Space depicted weekly adventures of the Robinson family on strange planets. Initially, the Robinsons’ mission is to colonize space for the United States. A foreign agent, Dr. Zachary Smith, caused the Robinson’s space craft to malfunction. His efforts backfire as he can’t leave the space craft before it launches. Smith becomes the comic relief, foil, and wacky neighbor character.
The Twilight Zone had episodes with a space theme. The Little People tells a lesson about bullying.
Astronauts William Fletcher and Peter Craig encounter a malfunction with their space ship, so they land on a planet to make repairs. Craig discovers an area inhabited by people who are the size of ants. He destroys their property and declares himself their god. He forces them to build a statue of him. Fletcher finishes repairing the space craft but Craig wants to stay. You reap what you sow. Two giant explorers from another planet are repairing their ship. One accidentally kills Craig. The “little people”are ecstatic and they bring the statue down.
Adieu, "Law & Order"
May 25, 2010
by David Krell
david@davidkrell.com
“Appointment television” may be defined as the need to be home when a television show airs to ensure we capture every second of the show.
In a Hulu-You Tube-On Demand universe, appointment television in the strictest sense is no longer necessary. We’ll still seek quality, although the viewing time is in our hands. We need to make the appointment to watch the show, not the broadcast or cable networks. But after 24, Law & Order, and Lost, will prime time television ever be that good again?
On Sunday night, we learned that the Flash Sideways story line on Lost was really a waiting state for the dead. Our favorite characters remained there until they remembered their time on the island. Apparently, they needed to remember so they could move forward on their afterlife’s journeys.
Last night, we said goodbye to Jack Bauer. He’s on the run after triggering the exposure of a massive cover-up that reached the Oval Office, not to mention pulling the trigger to seek revenge on almost everyone involved. The cover-up killed Renee Walker, Jack’s paramour and fellow CTU agent.
We also bid adieu last night to Law & Order, one of television’s true stalwarts. With twenty years of episodes, we will easily have ample time to relive the stories of Lennie Briscoe, Mike Logan, Jack McCoy, Anita Van Buren, and the many others who dramatized true-life stories.
When a television show creator pitches a show, he or she explains the first few story lines or ‘bible.’ On Inside the Actors Studio, Dick Wolf recalled pitching L&O to Brandon Tartikoff, then the President of NBC Entertainment. When Tartikoff asked about the story bible, Wolf said that he would get his stories from the front page of the New York Post.
david@davidkrell.com
“Appointment television” may be defined as the need to be home when a television show airs to ensure we capture every second of the show.
In a Hulu-You Tube-On Demand universe, appointment television in the strictest sense is no longer necessary. We’ll still seek quality, although the viewing time is in our hands. We need to make the appointment to watch the show, not the broadcast or cable networks. But after 24, Law & Order, and Lost, will prime time television ever be that good again?
On Sunday night, we learned that the Flash Sideways story line on Lost was really a waiting state for the dead. Our favorite characters remained there until they remembered their time on the island. Apparently, they needed to remember so they could move forward on their afterlife’s journeys.
Last night, we said goodbye to Jack Bauer. He’s on the run after triggering the exposure of a massive cover-up that reached the Oval Office, not to mention pulling the trigger to seek revenge on almost everyone involved. The cover-up killed Renee Walker, Jack’s paramour and fellow CTU agent.
We also bid adieu last night to Law & Order, one of television’s true stalwarts. With twenty years of episodes, we will easily have ample time to relive the stories of Lennie Briscoe, Mike Logan, Jack McCoy, Anita Van Buren, and the many others who dramatized true-life stories.
When a television show creator pitches a show, he or she explains the first few story lines or ‘bible.’ On Inside the Actors Studio, Dick Wolf recalled pitching L&O to Brandon Tartikoff, then the President of NBC Entertainment. When Tartikoff asked about the story bible, Wolf said that he would get his stories from the front page of the New York Post.
Live From New York
May 19, 2010
by David Krell
david@davidkrell.com
Saturday Night Live has been and continues to be a launching pad for actors to break into the movies.
Chevy Chase and Foul Play.
John Belushi and Animal House.
Eddie Murphy and 48 Hours.
Mike Myers and Wayne’s World.
Tina Fey and Mean Girls.
But Saturday Night Live is also the launching pad for television icons beyond Saturday nights in Studio 8H in Rockefeller Center.
In 1993, SNL creator and executive producer Lorne Michaels took over NBC’s Late Night franchise after David Letterman bolted for CBS. Michaels tapped Conan O’Brien to succeed Letterman. O’Brien was a writer on Saturday Night Live in the late 1980’s and early 1990’s. He hosted Late Night for sixteen years, from 1993 to 2009.
Again, Michaels need to find a Late Night host. He went to the ultimately likable Jimmy Fallon, an SNL icon who had the keystone role of a Weekend Update co-anchor with Tina Fey.
Fey created and stars in the comedy 30 Rock airing Thursday nights on NBC. Michaels’ company Broadway Video produces 30 Rock.
30 Rock, a multiple Emmy Award winner, concerns the behind-the-scenes antics of the staff at TGS or The Girlie Show, an NBC comedy-variety show, like Saturday Night Live. Fey plays Liz Lemon, the head writer. Alec Baldwin, a longtime guest host of SNL, also stars on 30 Rock. He plays NBC executive Jack Donaghy. Donaghy retools TGS by bringing in Tracy Jordan, played by Tracy Morgan in a thinly veiled depiction of his bombastic, hilarious, and affable public persona.
Another former Weekend Update anchor has a Thursday night comedy on NBC. From the team that brought you The Office, you now have Parks and Recreation starring Amy Poehler as Leslie Knope, a dedicated public servant in the fictional Pawnee, Indiana. Though idealistic about Pawnee’s Parks and Recreation Department, she encounters apathy, bureaucracy, and ignorance among her staff, the town, and other public servants.
david@davidkrell.com
Saturday Night Live has been and continues to be a launching pad for actors to break into the movies.
Chevy Chase and Foul Play.
John Belushi and Animal House.
Eddie Murphy and 48 Hours.
Mike Myers and Wayne’s World.
Tina Fey and Mean Girls.
But Saturday Night Live is also the launching pad for television icons beyond Saturday nights in Studio 8H in Rockefeller Center.
In 1993, SNL creator and executive producer Lorne Michaels took over NBC’s Late Night franchise after David Letterman bolted for CBS. Michaels tapped Conan O’Brien to succeed Letterman. O’Brien was a writer on Saturday Night Live in the late 1980’s and early 1990’s. He hosted Late Night for sixteen years, from 1993 to 2009.
Again, Michaels need to find a Late Night host. He went to the ultimately likable Jimmy Fallon, an SNL icon who had the keystone role of a Weekend Update co-anchor with Tina Fey.
Fey created and stars in the comedy 30 Rock airing Thursday nights on NBC. Michaels’ company Broadway Video produces 30 Rock.
30 Rock, a multiple Emmy Award winner, concerns the behind-the-scenes antics of the staff at TGS or The Girlie Show, an NBC comedy-variety show, like Saturday Night Live. Fey plays Liz Lemon, the head writer. Alec Baldwin, a longtime guest host of SNL, also stars on 30 Rock. He plays NBC executive Jack Donaghy. Donaghy retools TGS by bringing in Tracy Jordan, played by Tracy Morgan in a thinly veiled depiction of his bombastic, hilarious, and affable public persona.
Another former Weekend Update anchor has a Thursday night comedy on NBC. From the team that brought you The Office, you now have Parks and Recreation starring Amy Poehler as Leslie Knope, a dedicated public servant in the fictional Pawnee, Indiana. Though idealistic about Pawnee’s Parks and Recreation Department, she encounters apathy, bureaucracy, and ignorance among her staff, the town, and other public servants.
Let's Be Careful Out There
May 14, 2010
by David Krell
david@davidkrell.com
Hill Street Blues began NBC’s tradition of quality drama in the Thursday night 10:00pm time slot. That tradition ended in 2009 when The Jay Leno Show took over 10:00pm time slot. Now The Marriage Ref owns the time slot.
Airing from 1981 to 1987, Hill Street Blues changed television.
The bad guys didn’t always get caught by the end of the hour.
The good guys weren’t always angels.
And story lines could last for multiple episodes, maybe even a season.
At the heart of Hill Street Blues was Captain Frank Furillo, a recovering alcoholic who guided the Hill Street precinct with compassion, toughness, and experience. He was trusted by his officers, detectives, and the gangs. Jesus Martinez, leader of the Diablos, often called him ‘Frankie’ out of affection, respect, and teasing. In later years, Jesus became a paralegal.
If Frank Furillo was the Hill Street precinct’s heart, Sergeant Phil Esterhaus was its soul. Played by Michael Conrad with a textbook definition of being avuncular, Esterhaus led off each episode in the middle of the morning Roll Call with the phrase Let’s be careful out there. Conrad died in 1983. Robert Prosky replaced him at the Roll Call as Sergeant Stan Jablonski with the less watchful and more bombastic Let’s do it to them before they do it to us.
Veronica Hamel played the sensitive, skilled, and sexy Joyce Davenport of the Public Defender’s office. The advocate shared a bed with Captain Furillo and later married him.
Despite the urban chaos surrounding them, the officers and detectives never stopped in their mission to clean up the streets.
And creators Steven Bochco and Michael Kozoll set a standard for television producing. Multiple story arcs, scenes involving walking and talking, and three dimensional characters are hallmarks seen in St. Elsewhere, L.A. Law, thirtysomething, ER, The West Wing, and Friday Night Lights, to name a few.
david@davidkrell.com
Hill Street Blues began NBC’s tradition of quality drama in the Thursday night 10:00pm time slot. That tradition ended in 2009 when The Jay Leno Show took over 10:00pm time slot. Now The Marriage Ref owns the time slot.
Airing from 1981 to 1987, Hill Street Blues changed television.
The bad guys didn’t always get caught by the end of the hour.
The good guys weren’t always angels.
And story lines could last for multiple episodes, maybe even a season.
At the heart of Hill Street Blues was Captain Frank Furillo, a recovering alcoholic who guided the Hill Street precinct with compassion, toughness, and experience. He was trusted by his officers, detectives, and the gangs. Jesus Martinez, leader of the Diablos, often called him ‘Frankie’ out of affection, respect, and teasing. In later years, Jesus became a paralegal.
If Frank Furillo was the Hill Street precinct’s heart, Sergeant Phil Esterhaus was its soul. Played by Michael Conrad with a textbook definition of being avuncular, Esterhaus led off each episode in the middle of the morning Roll Call with the phrase Let’s be careful out there. Conrad died in 1983. Robert Prosky replaced him at the Roll Call as Sergeant Stan Jablonski with the less watchful and more bombastic Let’s do it to them before they do it to us.
Veronica Hamel played the sensitive, skilled, and sexy Joyce Davenport of the Public Defender’s office. The advocate shared a bed with Captain Furillo and later married him.
Despite the urban chaos surrounding them, the officers and detectives never stopped in their mission to clean up the streets.
And creators Steven Bochco and Michael Kozoll set a standard for television producing. Multiple story arcs, scenes involving walking and talking, and three dimensional characters are hallmarks seen in St. Elsewhere, L.A. Law, thirtysomething, ER, The West Wing, and Friday Night Lights, to name a few.
The Larry Sanders Show
May 14, 2010
by David Krell
david@davidkrell.com
With all of the talk about the late night talk show wars during the past few months, one name has been left out of the discussion.
Larry Sanders.
From 1992 to 1998, The Larry Sanders Show aired on HBO. It was a look at a fictional late night talk show hosted by Larry Sanders, played by Garry Shandling.
Occasionally, episodes featured scenes from the actual talk show hosted by Sanders in front of a television audience.
Stars played themselves.
Dana Delany. Sharon Stone. Dana Carvey.
For advice about navigating the shark-infested waters of the entertainment industry and his own staff, Larry frequently turned to veteran producer Artie for advice. Rip Torn played Artie while Jeffrey Tambor played sidekick announcer Hank Kingsley.
Jeremy Piven played Jerry, a young writer on Larry’s staff. Years later, a mini-reunion occurred when Jeffrey Tambor played himself on an episode of Entourage while Piven played his agent, Ari Gold.
The Larry Sanders Show debuted in the firestorm of the early 1990’s when Johhny Carson left The Tonight Show, David Letterman started a late night franchise at CBS, and the audience split its loyalties between Jay Leno and David Letterman.
The area was ripe for exploration as the public became more aware of the business side of show business.
But The Larry Sanders Show explored another side beyond advertisers, demographics, and ratings. This side features topics familiar to every industry -- insecurity, office politics, and the high pressure of job performance in an increasingly competitive atmosphere.
david@davidkrell.com
With all of the talk about the late night talk show wars during the past few months, one name has been left out of the discussion.
Larry Sanders.
From 1992 to 1998, The Larry Sanders Show aired on HBO. It was a look at a fictional late night talk show hosted by Larry Sanders, played by Garry Shandling.
Occasionally, episodes featured scenes from the actual talk show hosted by Sanders in front of a television audience.
Stars played themselves.
Dana Delany. Sharon Stone. Dana Carvey.
For advice about navigating the shark-infested waters of the entertainment industry and his own staff, Larry frequently turned to veteran producer Artie for advice. Rip Torn played Artie while Jeffrey Tambor played sidekick announcer Hank Kingsley.
Jeremy Piven played Jerry, a young writer on Larry’s staff. Years later, a mini-reunion occurred when Jeffrey Tambor played himself on an episode of Entourage while Piven played his agent, Ari Gold.
The Larry Sanders Show debuted in the firestorm of the early 1990’s when Johhny Carson left The Tonight Show, David Letterman started a late night franchise at CBS, and the audience split its loyalties between Jay Leno and David Letterman.
The area was ripe for exploration as the public became more aware of the business side of show business.
But The Larry Sanders Show explored another side beyond advertisers, demographics, and ratings. This side features topics familiar to every industry -- insecurity, office politics, and the high pressure of job performance in an increasingly competitive atmosphere.
Baseball and Television
April 20, 2010
by David Krell
david@davidkrell.com
For most of us, baseball games have always been televised.
People listening to baseball games on radio or watching highlights in newsreels are events depicted in movies, though our parents and grandparents can actually remember doing those things.
For those of us who weren’t at the ballpark, we’ve had the good fortune to see some of baseball’s greatest moments from the comfort of our couch.
Carlton Fisk’s body language that practially willed his home run over Fenway Park’s Green Monster during an epic World Series game in 1975.
Tom Seaver getting his 300th win at Yankee Stadium on a hot August day in 1985 when he played for the Chicago White Sox.
Kirk Gibson winning Game 1 of the World Series for the Dodgers with a home run and his subsequent limping trot around the bases that let us know he wasn’t truly in top form.
And then there were and continue to be the announcers whose voices form the background of our summers.
Vin Scully calling Sandy Koufax’s perfect game in 1965.
Phil Rizzuto reminiscing about playing with Mickey Mantle, Billy Martin, Whitey Ford, and Yogi Berra.
Lindsay Nelson, Ralph Kiner, and Bob Murphy forming the initial trio of Mets announcers and staying in that position for several years.
Ernie Harwell and the Tigers.
Harry Caray and the Cubs.
Harry Kalas and the Phillies.
Red Barber and the Dodgers.
Bob Costas.
Howard Cosell.
Joe Garagiola.
Play ball.
david@davidkrell.com
For most of us, baseball games have always been televised.
People listening to baseball games on radio or watching highlights in newsreels are events depicted in movies, though our parents and grandparents can actually remember doing those things.
For those of us who weren’t at the ballpark, we’ve had the good fortune to see some of baseball’s greatest moments from the comfort of our couch.
Carlton Fisk’s body language that practially willed his home run over Fenway Park’s Green Monster during an epic World Series game in 1975.
Tom Seaver getting his 300th win at Yankee Stadium on a hot August day in 1985 when he played for the Chicago White Sox.
Kirk Gibson winning Game 1 of the World Series for the Dodgers with a home run and his subsequent limping trot around the bases that let us know he wasn’t truly in top form.
And then there were and continue to be the announcers whose voices form the background of our summers.
Vin Scully calling Sandy Koufax’s perfect game in 1965.
Phil Rizzuto reminiscing about playing with Mickey Mantle, Billy Martin, Whitey Ford, and Yogi Berra.
Lindsay Nelson, Ralph Kiner, and Bob Murphy forming the initial trio of Mets announcers and staying in that position for several years.
Ernie Harwell and the Tigers.
Harry Caray and the Cubs.
Harry Kalas and the Phillies.
Red Barber and the Dodgers.
Bob Costas.
Howard Cosell.
Joe Garagiola.
Play ball.
Long Gone
April 19, 2010
by David Krell
david@davidkrell.com
Long Gone is a 1987 tv-movie that first appeared on HBO.
Based on a novel by Richard Hemphill, it’s a tale about baseball, corruption, and sex centered on a minor league baseball team in Florida in the late 1950’s.
At the heart of the Tampico Stogies baseball team is Cecil “Stud” Cantrell, a long-time minor-league pitcher, manager, and slugger who almost made the big leagues with the St. Louis Cardinals.
He competed with Stan Musial. Cantrell says that he hit the ball harder but Stan the Man had a prettier swing. It was at the dawn of World War II. Cantrell served his country, but war injuries prevented him from going farther than minor league ball.
William Petersen of CSI fame plays Cantrell.
His protégé is Jamie Don Weeks, played by Dermot Mulroney. At first a naive player who simply wants to play baseball, Jamie transforms into a grown man and emulates Stud’s mannerisms.
He also gets his girlfriend pregnant -- Esther Wrenn, played by Katy Boyer.
Cantrell’s girlfriend is the young but world-wise Dixie Lee Boxx, played by Virginia Madsen.
Henry Gibson plays Hale Buchman, owner of the Stogies. Teller of Penn and Teller plays his son in a rare talking performance.
Larry Riley plays Joe Louis Brown, a catcher with tremendous power. In one scene, the KKK stops the Stogies’ team bus in the middle of the night. The Stogies chase off the Klan with baseball bats and Brown knocks a burning cross to the ground with a powerful swing.
The Stogies’ chief rival is the Dothan Cardinals. J. Harrell Smythe, the Cardinals’ owner, makes Cantrell and Riley an offer. Throw a decisive game against the Cardinals. Brown gets a brand new car. Cantrell gets a contract with the Dothan Cardinals. An enticing offer for Cantrell considering he never gave up his dream of working in the Cardinals’ organization after losing a spot to Musial.
To see how the story ends, check out Long Gone if you can find it.
Long Gone may be long gone, but not forgotten.
david@davidkrell.com
Long Gone is a 1987 tv-movie that first appeared on HBO.
Based on a novel by Richard Hemphill, it’s a tale about baseball, corruption, and sex centered on a minor league baseball team in Florida in the late 1950’s.
At the heart of the Tampico Stogies baseball team is Cecil “Stud” Cantrell, a long-time minor-league pitcher, manager, and slugger who almost made the big leagues with the St. Louis Cardinals.
He competed with Stan Musial. Cantrell says that he hit the ball harder but Stan the Man had a prettier swing. It was at the dawn of World War II. Cantrell served his country, but war injuries prevented him from going farther than minor league ball.
William Petersen of CSI fame plays Cantrell.
His protégé is Jamie Don Weeks, played by Dermot Mulroney. At first a naive player who simply wants to play baseball, Jamie transforms into a grown man and emulates Stud’s mannerisms.
He also gets his girlfriend pregnant -- Esther Wrenn, played by Katy Boyer.
Cantrell’s girlfriend is the young but world-wise Dixie Lee Boxx, played by Virginia Madsen.
Henry Gibson plays Hale Buchman, owner of the Stogies. Teller of Penn and Teller plays his son in a rare talking performance.
Larry Riley plays Joe Louis Brown, a catcher with tremendous power. In one scene, the KKK stops the Stogies’ team bus in the middle of the night. The Stogies chase off the Klan with baseball bats and Brown knocks a burning cross to the ground with a powerful swing.
The Stogies’ chief rival is the Dothan Cardinals. J. Harrell Smythe, the Cardinals’ owner, makes Cantrell and Riley an offer. Throw a decisive game against the Cardinals. Brown gets a brand new car. Cantrell gets a contract with the Dothan Cardinals. An enticing offer for Cantrell considering he never gave up his dream of working in the Cardinals’ organization after losing a spot to Musial.
To see how the story ends, check out Long Gone if you can find it.
Long Gone may be long gone, but not forgotten.
Bob Crane
April 05, 2010
by David Krell
david@davidkrell.com
Most of us know Bob Crane as the actor who played Colonel Robert Hogan in Hogan’s Heroes, a kind of Mission: Impossible set in a POW camp in Germany during World War II.
Some of us know Bob Crane as a darker figure in his private life. The 2002 movie Auto Focus explores this area.
Bob Crane began his career as a disc jockey. He made his way to the West Coast where he starred in his own radio show in morning drive time on KNX in Los Angeles. Crane branched out into television. His resume includes guest appearances on The Dick Van Dyke Show and The Twilight Zone.
He increased his exposure with a regular role on The Donna Reed Show.
And in 1965, Crane got his big break when he was cast as the lead role in Hogan’s Heroes.
During the run of Hogan’s Heroes, Crane met John Henry Carpenter, a video expert from Sony. Fascinated by the new technology of the VCR only available to the elite in the 1960’s, Crane formed a friendship with Carpenter. The video salesman introduced the television star to a world of underground sex. Crane frequently photographed and videotaped his bedmates.
The Murder of Bob Crane by Robert Graysmith details Crane’s biography and his murder that took place on June 29, 1978 in Scottsdale, Arizone where Crane was performing in a dinner theatre production of Beginner’s Luck.
Paul Schrader directed Auto Focus based on Graysmith’s book.
In Auto Focus Greg Kinnear plays Bob Crane. Kinnear’s dramatic portrayal of a television icon reveals a private side of Bob Crane that the public never knew about when he was alive.
Crane was bludgeoned to death in his sleep. Allegedly, on the night that he was killed, Crane told Carpenter that he wanted a new life. No more parties or anonymous women. The friendship was over.
DNA testing did not exist in 1978. But Carpenter was arrested and indicted on murder charges in 1992. He was acquitted in 1994. He died in 1998.
The murder of Bob Crane remains an unsolved case.
Bob Crane’s story is one of a gradual but inevitable rise to television icon status that he could never recapture after Hogan’s Heroes ended.
But it is also a story of sadness.
david@davidkrell.com
Most of us know Bob Crane as the actor who played Colonel Robert Hogan in Hogan’s Heroes, a kind of Mission: Impossible set in a POW camp in Germany during World War II.
Some of us know Bob Crane as a darker figure in his private life. The 2002 movie Auto Focus explores this area.
Bob Crane began his career as a disc jockey. He made his way to the West Coast where he starred in his own radio show in morning drive time on KNX in Los Angeles. Crane branched out into television. His resume includes guest appearances on The Dick Van Dyke Show and The Twilight Zone.
He increased his exposure with a regular role on The Donna Reed Show.
And in 1965, Crane got his big break when he was cast as the lead role in Hogan’s Heroes.
During the run of Hogan’s Heroes, Crane met John Henry Carpenter, a video expert from Sony. Fascinated by the new technology of the VCR only available to the elite in the 1960’s, Crane formed a friendship with Carpenter. The video salesman introduced the television star to a world of underground sex. Crane frequently photographed and videotaped his bedmates.
The Murder of Bob Crane by Robert Graysmith details Crane’s biography and his murder that took place on June 29, 1978 in Scottsdale, Arizone where Crane was performing in a dinner theatre production of Beginner’s Luck.
Paul Schrader directed Auto Focus based on Graysmith’s book.
In Auto Focus Greg Kinnear plays Bob Crane. Kinnear’s dramatic portrayal of a television icon reveals a private side of Bob Crane that the public never knew about when he was alive.
Crane was bludgeoned to death in his sleep. Allegedly, on the night that he was killed, Crane told Carpenter that he wanted a new life. No more parties or anonymous women. The friendship was over.
DNA testing did not exist in 1978. But Carpenter was arrested and indicted on murder charges in 1992. He was acquitted in 1994. He died in 1998.
The murder of Bob Crane remains an unsolved case.
Bob Crane’s story is one of a gradual but inevitable rise to television icon status that he could never recapture after Hogan’s Heroes ended.
But it is also a story of sadness.
A Face in the Crowd
April 05, 2010
by David Krell
david@davidkrell.com
A Face in the Crowd is a 1957 film about corruption rooted in ego, power, and fame. Budd Schulberg wrote the screenplay based on his short story The Arkansas Traveler.
Andy Griffith stars as Larry “Lonesome” Rhodes, a southern storyteller and singer with an abundance of charm.
Griffith’s portrayal reveals his deep acting talent. Lonesome Rhodes is an upside down and backwards version of Griffith’s iconic character, Sheriff Andy Taylor.
Marcia Jeffries discovers Rhodes and soon helps catapult him to stardom. Patricia Neal plays Jeffries.
Rhodes is also helped by Mel Miller, an intellectual writer. Walter Matthau plays Miller.
Anthony Franciosa plays an agent who puts Rhodes on national television.
While charming in public, Rhodes is egocentric to the point of being abusive in private.
He advises a presidential candidate on communications and image but his comments in private belie his true condescending feelings about the candidate.
Jeffries cannot help but fall in love with the star she helped create. But she feels betrayed because he is not divorced from his first wife and he marries a teenage baton twirler played by Lee Remick.
Jeffries brings down the Frankenstein monster that she nurtured, inspired, and built.
During a live television performance when Rhodes thinks the broadcast has ended, Jeffries keeps the microphones live so the national television audience can hear Rhodes’ caustic comments about the audience. Now revealed as an egomaniac with no respect for his fans, Rhodes faces an incredible plunge in popularity.
He breaks down at his apartment and pleads for Jeffries’ help. Miller tells her that Rhodes will never have the acclaim or fame that he once enjoyed but his career may be somewhat salvageable.
Nevertheless, despite the shouts and pleas from Rhodes, Jeffries leaves with Miller and leaves the audience wondering what ever became of Lonesome Rhodes.
david@davidkrell.com
A Face in the Crowd is a 1957 film about corruption rooted in ego, power, and fame. Budd Schulberg wrote the screenplay based on his short story The Arkansas Traveler.
Andy Griffith stars as Larry “Lonesome” Rhodes, a southern storyteller and singer with an abundance of charm.
Griffith’s portrayal reveals his deep acting talent. Lonesome Rhodes is an upside down and backwards version of Griffith’s iconic character, Sheriff Andy Taylor.
Marcia Jeffries discovers Rhodes and soon helps catapult him to stardom. Patricia Neal plays Jeffries.
Rhodes is also helped by Mel Miller, an intellectual writer. Walter Matthau plays Miller.
Anthony Franciosa plays an agent who puts Rhodes on national television.
While charming in public, Rhodes is egocentric to the point of being abusive in private.
He advises a presidential candidate on communications and image but his comments in private belie his true condescending feelings about the candidate.
Jeffries cannot help but fall in love with the star she helped create. But she feels betrayed because he is not divorced from his first wife and he marries a teenage baton twirler played by Lee Remick.
Jeffries brings down the Frankenstein monster that she nurtured, inspired, and built.
During a live television performance when Rhodes thinks the broadcast has ended, Jeffries keeps the microphones live so the national television audience can hear Rhodes’ caustic comments about the audience. Now revealed as an egomaniac with no respect for his fans, Rhodes faces an incredible plunge in popularity.
He breaks down at his apartment and pleads for Jeffries’ help. Miller tells her that Rhodes will never have the acclaim or fame that he once enjoyed but his career may be somewhat salvageable.
Nevertheless, despite the shouts and pleas from Rhodes, Jeffries leaves with Miller and leaves the audience wondering what ever became of Lonesome Rhodes.
Wiseguy
February 27, 2010
by David Krell
david@davidkrell.com
Wiseguy aired on CBS for four seasons, from 1987 to 1990.
Ken Wahl stars as Vinnie Terranova, a federal government agent in the Organized Crime Bureau who went deep undercover to capture criminals.
In the beginning of the show, he has just completed a year-and-a-half prison stint. It’s a set-up to give Vinnie a viable criminal background cover. To the outside world, he’s a wiseguy, a term applied to organized crime figures.
Jonathan Banks plays Frank McPike, Vinnie’s government handler who coordinates strategy with Vinnie. Banks appears in Beverly Hills Cop as one of the henchman of Victor Maitlin, the nemesis of Eddie Murphy’s Axel Foley character.
Daniel Burroughs plays Jim Burroughs. Nickname: Lifeguard. Essentially, he is Vinnie’s communications link to McPike. His nickname is appropriate -- if Vinnie gets in danger, he calls Lifeguard with appropriate codes to send backup.
Wiseguy rarely contained self-contained episodes. Rather, it used story arcs comprised of multiple episodes.
The first story arc sees Vinnie become a trusted member of the crime family of mob boss Sonny Steelgrave, played by Ray Sharkey. Steelgrave electrocutes himself in front of Vinnie when he discovers Vinnie’s true identity.
The second story arc showcases Kevin Spacey as Mel Profitt, an international criminal with roots in arms dealing.
Other story arcs focus on white supremacy, the garment district in New York City, the record industry, a Japanese Yen counterfeiting conspiracy, mafia wars, a small town in the Pacific Northwest rooted in corruption, a Cuban-American crime lord, and the drug trade in the New York City school system.
ABC aired a reunion tv-movie in 1996. The canon is questionable.
In the fourth season of Wiseguy, Vinnie is killed.
The 1996 tv-movie stars Wahl as Vinnie. So either the fourth season story line did not occur in official Wiseguy canon or the events in the tv-movie occurred before his death.
david@davidkrell.com
Wiseguy aired on CBS for four seasons, from 1987 to 1990.
Ken Wahl stars as Vinnie Terranova, a federal government agent in the Organized Crime Bureau who went deep undercover to capture criminals.
In the beginning of the show, he has just completed a year-and-a-half prison stint. It’s a set-up to give Vinnie a viable criminal background cover. To the outside world, he’s a wiseguy, a term applied to organized crime figures.
Jonathan Banks plays Frank McPike, Vinnie’s government handler who coordinates strategy with Vinnie. Banks appears in Beverly Hills Cop as one of the henchman of Victor Maitlin, the nemesis of Eddie Murphy’s Axel Foley character.
Daniel Burroughs plays Jim Burroughs. Nickname: Lifeguard. Essentially, he is Vinnie’s communications link to McPike. His nickname is appropriate -- if Vinnie gets in danger, he calls Lifeguard with appropriate codes to send backup.
Wiseguy rarely contained self-contained episodes. Rather, it used story arcs comprised of multiple episodes.
The first story arc sees Vinnie become a trusted member of the crime family of mob boss Sonny Steelgrave, played by Ray Sharkey. Steelgrave electrocutes himself in front of Vinnie when he discovers Vinnie’s true identity.
The second story arc showcases Kevin Spacey as Mel Profitt, an international criminal with roots in arms dealing.
Other story arcs focus on white supremacy, the garment district in New York City, the record industry, a Japanese Yen counterfeiting conspiracy, mafia wars, a small town in the Pacific Northwest rooted in corruption, a Cuban-American crime lord, and the drug trade in the New York City school system.
ABC aired a reunion tv-movie in 1996. The canon is questionable.
In the fourth season of Wiseguy, Vinnie is killed.
The 1996 tv-movie stars Wahl as Vinnie. So either the fourth season story line did not occur in official Wiseguy canon or the events in the tv-movie occurred before his death.
Double Rush
February 18, 2010
by David Krell
david@davidkrell.com
Double Rush was a short-lived sitcom on CBS that aired from January to April 1995.
Stephen Nathan and Diane English created the show.
Its setting was familiar -- the workplace.
Cheers had the bar in Boston where everybody knows your name.
WKRP in Cincinnati had a rock and roll radio station in the Queen City.
And Double Rush had a bicycle messenger service in Manhattan named Double Rush.
The owner is would-be rock musician Johnny Verona, played by Robert Pastorelli.
Pastorelli earned the respect, laughter, and loyalty of fans of Murphy Brown as Eldin Bernecky, the house painter who constantly created new projects for Murphy’s home.
Corinne Bohrer plays the practical-minded Harvard Business School grad Zoe Fuller, a good complement and potential love interest for Johnny.
There is a dynamic between dreamer Johnny and intellectual yet unfulfilled Zoe that is reminiscent of Sam and Diane on Cheers.
Double Rush was funny. Its characters were well-defined. And its supporting cast was solid.
D.L. Hughley, Adam Goldberg, and David Arquette play bike messengers.
Sam Lloyd plays dispatcher Barkley. You may know him as Ted Buckland, the attorney for Sacred Heart Hospital on Scrubs.
Veteran comedic character actor Phil Leeds plays veteran bike messenger The Kid.
In the pilot, we learn that Johnny won’t sell Double Rush to a competitor because if he does, the competitor will lay off the messengers.
We also learn that Johnny’s loyalty is inherent. Twenty-five years prior, Johnny had the opportunity to sign with a record label. But the label only wanted Johnny, not his band mates.
Johnny wouldn’t sign without them, so he continued his bike messenger job to pay the bills. Eventually, he bought Double Rush.
Despite the cast and writing, Double Rush did not live to see the Fall 1995 lineup.
david@davidkrell.com
Double Rush was a short-lived sitcom on CBS that aired from January to April 1995.
Stephen Nathan and Diane English created the show.
Its setting was familiar -- the workplace.
Cheers had the bar in Boston where everybody knows your name.
WKRP in Cincinnati had a rock and roll radio station in the Queen City.
And Double Rush had a bicycle messenger service in Manhattan named Double Rush.
The owner is would-be rock musician Johnny Verona, played by Robert Pastorelli.
Pastorelli earned the respect, laughter, and loyalty of fans of Murphy Brown as Eldin Bernecky, the house painter who constantly created new projects for Murphy’s home.
Corinne Bohrer plays the practical-minded Harvard Business School grad Zoe Fuller, a good complement and potential love interest for Johnny.
There is a dynamic between dreamer Johnny and intellectual yet unfulfilled Zoe that is reminiscent of Sam and Diane on Cheers.
Double Rush was funny. Its characters were well-defined. And its supporting cast was solid.
D.L. Hughley, Adam Goldberg, and David Arquette play bike messengers.
Sam Lloyd plays dispatcher Barkley. You may know him as Ted Buckland, the attorney for Sacred Heart Hospital on Scrubs.
Veteran comedic character actor Phil Leeds plays veteran bike messenger The Kid.
In the pilot, we learn that Johnny won’t sell Double Rush to a competitor because if he does, the competitor will lay off the messengers.
We also learn that Johnny’s loyalty is inherent. Twenty-five years prior, Johnny had the opportunity to sign with a record label. But the label only wanted Johnny, not his band mates.
Johnny wouldn’t sign without them, so he continued his bike messenger job to pay the bills. Eventually, he bought Double Rush.
Despite the cast and writing, Double Rush did not live to see the Fall 1995 lineup.
West Wing & American President
January 27, 2010
by David Krell
david@davidkrell.com
Before he became the architect of the fictional Bartlet presidency by creating The West Wing, Aaron Sorkin designed a slice of the fictional Shepherd presidency in The American President.
The American President shows us the end of the first term of democrat Andrew Shepherd, a widower whose wife died before the election that sent him to the White House.
The most notable link between The American President and The West Wing is Martin Sheen.
In The American President, Sheen plays Shepherd’s Chief of Staff, A.J. Macinerney.
In The West Wing, Sheen plays President Bartlet.
Anna Deavere Smith is another link between the two stories.
She plays Press Secretary Robin McCall in The American President.
She has a recurring role on The West Wing -- Dr. Nancy McNally, National Security Advisor.
Joshua Malina also has roles in both Sorkin stories.
In The American President, Malina has a minor role -- an associate of President Shepherd’s environmental activist girlfriend, Sydney Ellen Wade, played by Annette Bening.
Malina replaced Rob Lowe in The West Wing. When Lowe’s character of Sam Seaborn runs for Congress, Malina’s character of Will Bailey replaces Sam as Deputy Communications Director.
In West Wing canon, the last real president acknowledged in dialogue is President Nixon. However, one scene takes place outside the Ronald Reagan Institute of Emergency Medicine at George Washington University Hospital. The West Wing does not directly reference Reagan as a U.S. president.
We also do not know whether President Shepherd is part of the post-Nixon history of The West Wing.
david@davidkrell.com
Before he became the architect of the fictional Bartlet presidency by creating The West Wing, Aaron Sorkin designed a slice of the fictional Shepherd presidency in The American President.
The American President shows us the end of the first term of democrat Andrew Shepherd, a widower whose wife died before the election that sent him to the White House.
The most notable link between The American President and The West Wing is Martin Sheen.
In The American President, Sheen plays Shepherd’s Chief of Staff, A.J. Macinerney.
In The West Wing, Sheen plays President Bartlet.
Anna Deavere Smith is another link between the two stories.
She plays Press Secretary Robin McCall in The American President.
She has a recurring role on The West Wing -- Dr. Nancy McNally, National Security Advisor.
Joshua Malina also has roles in both Sorkin stories.
In The American President, Malina has a minor role -- an associate of President Shepherd’s environmental activist girlfriend, Sydney Ellen Wade, played by Annette Bening.
Malina replaced Rob Lowe in The West Wing. When Lowe’s character of Sam Seaborn runs for Congress, Malina’s character of Will Bailey replaces Sam as Deputy Communications Director.
In West Wing canon, the last real president acknowledged in dialogue is President Nixon. However, one scene takes place outside the Ronald Reagan Institute of Emergency Medicine at George Washington University Hospital. The West Wing does not directly reference Reagan as a U.S. president.
We also do not know whether President Shepherd is part of the post-Nixon history of The West Wing.
Television Ad Agencies
January 27, 2010
by David Krell
david@davidkrell.com
If you had to choose an advertising agency, which one would you choose?
Would it be McMahon & Tate? You might bump into Darrin Stephens, a good-natured, smart, creative ad executive with a wife named Samantha who is a little mysterious. You might even say she is bewitching.
Would it be Livingston, Gentry & Mishkin? You might see artist Kip Wilson and word man Henry Desmond. They report to Ruth Dunbar, a red-headed, confident, experienced ad woman.
Kip, Henry, Ruth and Amy, a secretary, start their own commercial production company -- Sixty Seconds Street.
Henry and Kip are friends since childhood. They’re bosom buddies.
Would you choose Jack MacLaren’s agency? He is a success in advertising who started his own agency. He looks a lot like Tom Selleck. You might hear the words ‘the closer’ around his office.
Would you choose The Michael & Elliott Company? Two thirtysomethings named Michael and Elliott started this ad agency in mid-1980’s Philadelphia. By the late 1980’s, the agency went under. Michael and Elliott joined DAA, an advertising powerhouse.
Would you choose Rothman, Greene & Moore? Creative Director Mason McGuire and his irresponsible yet productive copywriter colleague Conner will treat you right. Their slogan might as well be called Trust Me.
Would you choose Sterling Cooper, the prototypical 1960’s ad agency with a charming, mysterious, and instinctive Creative Director -- Don Draper.
Who would you choose to do the photographs for print ads? Would it be Felix Unger, portraits a specialty?
Who would you choose to write a jingle? Would it be Charlie Harper, a womanizing, alcohol loving, Malibu beach house owning songwriter who also houses his brother, a chiropractor, and his brother’s son. Together, they comprise two and a half men.
Whichever agency, photographer, or jingle writer you select to promote your product or service, you have plenty of choices in the annals of television history.
david@davidkrell.com
If you had to choose an advertising agency, which one would you choose?
Would it be McMahon & Tate? You might bump into Darrin Stephens, a good-natured, smart, creative ad executive with a wife named Samantha who is a little mysterious. You might even say she is bewitching.
Would it be Livingston, Gentry & Mishkin? You might see artist Kip Wilson and word man Henry Desmond. They report to Ruth Dunbar, a red-headed, confident, experienced ad woman.
Kip, Henry, Ruth and Amy, a secretary, start their own commercial production company -- Sixty Seconds Street.
Henry and Kip are friends since childhood. They’re bosom buddies.
Would you choose Jack MacLaren’s agency? He is a success in advertising who started his own agency. He looks a lot like Tom Selleck. You might hear the words ‘the closer’ around his office.
Would you choose The Michael & Elliott Company? Two thirtysomethings named Michael and Elliott started this ad agency in mid-1980’s Philadelphia. By the late 1980’s, the agency went under. Michael and Elliott joined DAA, an advertising powerhouse.
Would you choose Rothman, Greene & Moore? Creative Director Mason McGuire and his irresponsible yet productive copywriter colleague Conner will treat you right. Their slogan might as well be called Trust Me.
Would you choose Sterling Cooper, the prototypical 1960’s ad agency with a charming, mysterious, and instinctive Creative Director -- Don Draper.
Who would you choose to do the photographs for print ads? Would it be Felix Unger, portraits a specialty?
Who would you choose to write a jingle? Would it be Charlie Harper, a womanizing, alcohol loving, Malibu beach house owning songwriter who also houses his brother, a chiropractor, and his brother’s son. Together, they comprise two and a half men.
Whichever agency, photographer, or jingle writer you select to promote your product or service, you have plenty of choices in the annals of television history.
"My Life" (The Conan O'Brien Version)
January 15, 2010
by David Krell
david@davidkrell.com
To the tune of “My Life”
Got a call from Jeff Zucker
We used to be real close
Said he wanted to give my time slot to Jay
Told my staff, told my reps
That I’m staying at 11:35
Now I’m learning all about life in L.A.
I don't need you to worry for me cause I'm alright
I don't want you to tell me it's time to move my show
I don't care what you say anymore, read my contract
Go ahead and schedule prime time, leave me alone
I never said you had to offer me “The Tonight Show”
(I never said you had to)
I never said you had to take it away from Leno
(I never said)
I still belong, don't get me wrong
You can talk a lot
But stay away from my time slot
They will tell you, you can't trust anybody in showbiz
Then they'll tell you, your soda is losing its fizz
Ah, but sooner or later my agents will handle it
Either way it's okay, no biz like showbiz
I don't need you to worry for me cause I'm alright
I don't want you to tell me it's time to move my show
I don't care what you say anymore, read my contract
Go ahead and schedule prime time, leave me alone
I never said you had to offer me “The Tonight Show”
(I never said you had to)
I never said you had to take it away from Leno
(I never said)
I still belong, don't get me wrong
You can talk a lot
But stay away from my time slot
I don't care what you say anymore, read my contract
Go ahead and schedule prime time, leave me alone
david@davidkrell.com
To the tune of “My Life”
Got a call from Jeff Zucker
We used to be real close
Said he wanted to give my time slot to Jay
Told my staff, told my reps
That I’m staying at 11:35
Now I’m learning all about life in L.A.
I don't need you to worry for me cause I'm alright
I don't want you to tell me it's time to move my show
I don't care what you say anymore, read my contract
Go ahead and schedule prime time, leave me alone
I never said you had to offer me “The Tonight Show”
(I never said you had to)
I never said you had to take it away from Leno
(I never said)
I still belong, don't get me wrong
You can talk a lot
But stay away from my time slot
They will tell you, you can't trust anybody in showbiz
Then they'll tell you, your soda is losing its fizz
Ah, but sooner or later my agents will handle it
Either way it's okay, no biz like showbiz
I don't need you to worry for me cause I'm alright
I don't want you to tell me it's time to move my show
I don't care what you say anymore, read my contract
Go ahead and schedule prime time, leave me alone
I never said you had to offer me “The Tonight Show”
(I never said you had to)
I never said you had to take it away from Leno
(I never said)
I still belong, don't get me wrong
You can talk a lot
But stay away from my time slot
I don't care what you say anymore, read my contract
Go ahead and schedule prime time, leave me alone
"Is NBC Really Going With Jay?" (The Conan O'Brien Version)
January 14, 2010
by David Krell
david@davidkrell.com
To the tune of “Is She Really Going Out With Him?”
Execs are here and walking down the NBC halls
From my office I'm staring while my coffee grows cold
Look over there! (Where?)
There's a man that I used to know
He’s firing me or moving my show so I’m told
(Chorus)
Is NBC really going with Jay?
Are they really gonna give him my “Tonight”?
Is NBC really going with Jay?
'Cause if my eyes don't deceive me,
There's something going wrong around here
Tonight's the night when I go to all the parties in the hills
I wash my hair and I kid myself I look real smooth
Look over there! (Where?)
Here comes Zucker with his best friend Jay
They say that contracts don't count for much
If so, there goes your proof
(Chorus)
Is NBC really going with Jay?
Are they really gonna give him my “Tonight”?
Is NBC really going with Jay
'Cause if my eyes don't deceive me,
There's something going wrong around here
But if looks could kill
There's a man there who's marked down as dead
Cause I've had my fill
Listen you, read my contract it says
I get to stay or you pay me forty-five mil
(Chorus)
Is NBC really going with Jay?
Are they really gonna give him my “Tonight”?
Is NBC really going with Jay?
'Cause if my eyes don't deceive me,
There's something going wrong around here
david@davidkrell.com
To the tune of “Is She Really Going Out With Him?”
Execs are here and walking down the NBC halls
From my office I'm staring while my coffee grows cold
Look over there! (Where?)
There's a man that I used to know
He’s firing me or moving my show so I’m told
(Chorus)
Is NBC really going with Jay?
Are they really gonna give him my “Tonight”?
Is NBC really going with Jay?
'Cause if my eyes don't deceive me,
There's something going wrong around here
Tonight's the night when I go to all the parties in the hills
I wash my hair and I kid myself I look real smooth
Look over there! (Where?)
Here comes Zucker with his best friend Jay
They say that contracts don't count for much
If so, there goes your proof
(Chorus)
Is NBC really going with Jay?
Are they really gonna give him my “Tonight”?
Is NBC really going with Jay
'Cause if my eyes don't deceive me,
There's something going wrong around here
But if looks could kill
There's a man there who's marked down as dead
Cause I've had my fill
Listen you, read my contract it says
I get to stay or you pay me forty-five mil
(Chorus)
Is NBC really going with Jay?
Are they really gonna give him my “Tonight”?
Is NBC really going with Jay?
'Cause if my eyes don't deceive me,
There's something going wrong around here
Opie the Birdman
January 03, 2010
by David Krell
david@davidkrell.com
In the Opie the Birdman episode of The Andy Griffith Show, we learn a valuable lesson about creative parenting.
Andy Taylor, Sheriff of Mayberry, North Carolina, orders his son, Opie, not to use his slingshot.
Opie ignores the mandate and plays with the slingshot anyway.
Consequently, he kills a mother bird and leaves three baby birds without a parent.
Andy punishes Opie.
Not by a spanking.
And not by a lecture.
By leaving the window open so Opie can hear the birds chirping and crying for their mother throughout the night.
The punishment proves inspirational.
The following morning, Opie takes responsibility to repair the damage he caused and decides to raise the birds himself in a cage. He names them Winkin, Blinkin, and Nod.
Clearly, Opie learns his lesson about the importance of obeying instructions and the consequences of disobeying.
But soon, the birds prove too big for the cage that Opie provides. And the time comes to let them fly.
It’s a bittersweet moment. He laments the cage’s emptiness. But Andy points out that the trees are full.
david@davidkrell.com
In the Opie the Birdman episode of The Andy Griffith Show, we learn a valuable lesson about creative parenting.
Andy Taylor, Sheriff of Mayberry, North Carolina, orders his son, Opie, not to use his slingshot.
Opie ignores the mandate and plays with the slingshot anyway.
Consequently, he kills a mother bird and leaves three baby birds without a parent.
Andy punishes Opie.
Not by a spanking.
And not by a lecture.
By leaving the window open so Opie can hear the birds chirping and crying for their mother throughout the night.
The punishment proves inspirational.
The following morning, Opie takes responsibility to repair the damage he caused and decides to raise the birds himself in a cage. He names them Winkin, Blinkin, and Nod.
Clearly, Opie learns his lesson about the importance of obeying instructions and the consequences of disobeying.
But soon, the birds prove too big for the cage that Opie provides. And the time comes to let them fly.
It’s a bittersweet moment. He laments the cage’s emptiness. But Andy points out that the trees are full.
Hotel
January 03, 2010
by David Krell
david@davidkrell.com
The Hotel television series was more a land-locked The Love Boat with revolving guest stars and less a hard-hitting drama.
Starring James Brolin as Peter McDermott, Hotel aired for five seasons, from 1983 to 1988.
Before Hotel was a 1980’s television series produced by Aaron Spelling, it was a 1967 movie starring Rod Taylor, Merle Oberon, Karl Malden, Kevin McCarthy, and Melvyn Douglas.
Before Hotel was a movie, it was a 1965 novel by Arthur Hailey.
While the television series was set at the fictional Saint Gregory Hotel in San Francisco, the movie and novel were both set at the fictional Saint Gregory Hotel in New Orleans.
Arthur Hailey’s origin story of Hotel takes place during one week in the life of the Saint Gregory, its employees, and its guests. The main character is Peter McDermott, the hotel’s General Manager with a past.
McDermott has to run the hotel while navigating a possible takeover, handling the aftermath of an attempted rape of a young woman by sons of prominent local businessmen, and tending to a mysterious guest who falls ill.
In addition, a Duke and Duchess are guests trying to avoid capture for a hit-and-run.
A local thief named Keycase Milne furthers his craft at the Saint Gregory.
An elevator with serious mechanical problems has potentially disastrous consequences.
And racial policies indicative of the deep south in the 1960’s manifest to the massive dismay of the president of a dentist convention at the Saint Gregory.
Hotel by Arthur Hailey.
Check it out.
Or should I say, “check in?”
david@davidkrell.com
The Hotel television series was more a land-locked The Love Boat with revolving guest stars and less a hard-hitting drama.
Starring James Brolin as Peter McDermott, Hotel aired for five seasons, from 1983 to 1988.
Before Hotel was a 1980’s television series produced by Aaron Spelling, it was a 1967 movie starring Rod Taylor, Merle Oberon, Karl Malden, Kevin McCarthy, and Melvyn Douglas.
Before Hotel was a movie, it was a 1965 novel by Arthur Hailey.
While the television series was set at the fictional Saint Gregory Hotel in San Francisco, the movie and novel were both set at the fictional Saint Gregory Hotel in New Orleans.
Arthur Hailey’s origin story of Hotel takes place during one week in the life of the Saint Gregory, its employees, and its guests. The main character is Peter McDermott, the hotel’s General Manager with a past.
McDermott has to run the hotel while navigating a possible takeover, handling the aftermath of an attempted rape of a young woman by sons of prominent local businessmen, and tending to a mysterious guest who falls ill.
In addition, a Duke and Duchess are guests trying to avoid capture for a hit-and-run.
A local thief named Keycase Milne furthers his craft at the Saint Gregory.
An elevator with serious mechanical problems has potentially disastrous consequences.
And racial policies indicative of the deep south in the 1960’s manifest to the massive dismay of the president of a dentist convention at the Saint Gregory.
Hotel by Arthur Hailey.
Check it out.
Or should I say, “check in?”