Posts Tagged ‘Jay Leno’

Dw. Dunphy On… “Southland,” Part Two

You don’t remember what I was talking about last week. I’ll just move on to — what? You say you do remember? Oh. Crap.

The crux of last week’s column was my belief that there’s no solid reason to be hard on Jay Leno, no matter how bad his show might be, because NBC wouldn’t do anything innovative with the timeslot anyhow. They’d probably fill the space with more dramas about lawyers, cops and doctors. This statement was mildly controversial, spurring a light flurry of responses along the lines of, “If it’s good television, it wouldn’t matter if it is about lawyers, cops and doctors,” and on this I will agree to disagree. With all the stories television can tell, I’m still perplexed by viewers’ seemingly insatiable desire to revolve around these three occupations. This, however, was not the problem with what I wrote.

No, that would be what I said regarding the canceled series Southland. We’ll get into the whys and wherefores in a moment, but the responses (which came fast, furious and often) tended to fit into three categories:

1. “You’re stupid & dumb & stupid.” – If you’ve posted a public column and haven’t been called this at least once, check if your PC or Mac is powered up, because you certainly haven’t been writing on the Internet. Calling someone an idiot on this thing is as common as muck.

2. “You’re a liar.” – When I approach this column and write, I base it on information I have gathered, period. Fabrication serves absolutely no purpose. When I say I’ve received information, you can be sure I’m telling the truth. In the final analysis, though, my defensive pose is fatally compromised. Sure, I’m saying with my heart on my sleeve that I’m giving you the truth as I’ve heard and seen it, but that’s all blah-blah and rubbish when faced with… (more…)

Dw. Dunphy On… Defending Leno

I have not come to refute the claims of editor-in-chief Jeff Giles, because it would be pointless. NBC is slowly finding out just how pointless, in fact, as they proceed to take a pounding from their advertisers and affiliates for their penny wisdom. “Jay Leno is beloved,” they said. “Jay’s fans are loyal, ” they said. What NBC brass feared was losing Leno to ABC, who probably would have snapped him up right quick, dumping Jimmy Kimmel like, well, like Sarah Silverman dumped Jimmy Kimmel (What, too soon?) With the costs rising by the year for scripted programs, the nighttime dramas leading the charge with more explosions, dead body mannequins and pricier locations, the Peacock network sought to kill two birds with one formerly skunk-haired stone. Talk shows are cheap. Run one five times a week and tell David E. Kelley to take his tired crap elsewhere. And with Jay, you get an instant audience! Win-win!

Only now, NBC has to wonder if the sponsors clamoring to back out of the 10 PM timeslot, and the money they represent, is more or less than the expenditure they would have otherwise incurred. Jay Leno, it seems, has become an albatross around the network’s neck, and if you think the added pressure would have caused him to step up his game and liven up the show, you probably were thinking this was originally a pretty good idea. No, the show still sucks.

But give Jay the teeny-tiniest break here. What would they have run in that slot if they hadn’t taken the big gamble? As I’ve said many times before: lawyers, cops and doctors. If for no better reason, give the big man a pat on the back for at least momentarily derailing the same old hackneyed, worn out and blood-drained train of thought that has plagued these “wonderful” nighttime dramas lo these many, many moons. It has been a long time since St. Elsewhere, L.A. Law and Hill Street Blues and, unlike the diehard loyalists, I don’t think the last couple seasons of ER were anywhere near the level of the first three. But there’s no doubt in my mind that without Leno shoving his chin into that ten o’clock dike, the dam would burst forth with edgy cops with hearts of gold, horny doctors still adherent to the Hippocratic Oath and lawyers who’ll do anything to win, but they won’t do that (No, no, they won’t do that.) (more…)

Sugar Water: Off the Record, I’m a Liar

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When things are said off the record in the world of politics, they should stay off the record. Unless I need something to write about, of course.

Last week I brought you an exclusive report on the scripted outbursts Rep. Joe Wilson almost said in place of “You lie!” when responding to President Obama’s position on illegal immigrants receiving universal health care. I obtained the list of outbursts from a congressional aide named Mark Cloth, who asked not to be identified, but I’m not a real journalist with “ethics” or “common decency” — either slip me a Benjamin or suffer the consequences.

I went ahead and used Cloth’s name, but it turns out he was using an alias inspired by Deep Throat, from All the President’s Men. He duped me, but I’m not mad. The way I see it, we both got what we wanted, and neither of us had to look at the other one naked.

On Monday the president was about to be interviewed by John Harwood when the CNBC reporter casually asked him what he thought of Kanye West’s outburst at the MTV Video Music Awards on Sunday night, comparing the hip-hop artist to Wilson. West had interrupted Best Female Video winner Taylor Swift’s acceptance speech by grabbing the microphone from her and complaining that Beyoncé deserved the award instead. Obama’s opinion was “He’s a jackass,” which got some laughs from people in the room, but the president quickly tried to make sure his off-the-cuff comment would stay off the record.

Yeah, right. The tape was already rolling, and Terry Moran, co-anchor of ABC’s Nightline, apparently overheard the pre-interview conversation, because he soon jumped on his Twitter account and wrote, “Pres. Obama just called Kanye West a ‘jackass’ for his outburst at VMAs when Taylor Swift won. Now THAT’S presidential.” And that’s unprofessional, Moron — unless you somehow got a Benjamin out of it, that is. (I wonder if he had to look at Vice President Biden naked.)

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TV Review: “The Jay Leno Show”

jay-leno[1]I hate Jay Leno so much.

Like most hatreds, my feelings for Leno are irrational. I mean, yes, he pretty much empirically sucks, but his brand of humor is so resolutely innocuous that hating him is totally overboard — it’s like hating ice cubes or milk. Leno’s style of entertainment is the kind of thing that you either chuckle at or ignore; if it doesn’t float your boat, you say “I don’t care for it,” not “I hate that motherfucker,” or “this date is over,” which is what I would shout in the ’90s if the girl I was out with told me she was a fan. Watching Leno continually trounce the funnier, more insightful Letterman in the ratings all those years only amplified my black loathing, to the point where I’m pretty sure I squealed like a third-grade girl when I read NBC’s (waaaay premature) announcement that Conan O’Brien would be taking over The Tonight Show this year.

And then, like a hug that turns into a punch in the nuts, the network went and gave Leno their 10 PM slot, five awful nights a week, for the typically creatively named The Jay Leno Show. Because the Popdose TV-critic slot is like the Spinal Tap drummer’s chair, and we don’t have anyone else who can cover the fall debuts, I was left wincing in pain as I picked up the remote and turned away from a very good fourth quarter of Monday Night Football and toward my hammy televised nemesis. (more…)

21st Century Boy: “HawthoRNe,” a “V” Reboot, and Conan O’Boring

HawthoRNe in My Pride: TNT’s new “sensitive” medical drama kicked off June 16 and appeared, at least at first glance, to be heavily courting — and perhaps even banking on — the erstwhile ER audience. HawthoRNe is centered on the director of nursing at a Richmond, Virginia, hospital and features Jada Pinkett Smith as single mother/chief registered nurse Christina Hawthorne, whose calling card is putting others’ needs before her own.

Hawthorne is fiery, passionate, and strong-willed, dammit, and we find out quickly where some of that tenacity comes from, at least in part: her grief from losing her husband to cancer.

In the pilot episode, the viewer drops in on Hawthorne on the first anniversary of her husband’s death. Still coming to terms with the loss, she carries his ash-filled urn with her around the house and talks to him. In a bit of contrived tension, she has to grudgingly surrender his remains for a whole year to her caustic mother-in-law (!), who just so happens to sit on the hospital’s board (!!) and blames Hawthorne for her son’s death (!?!).

I mean, c’mon, seriously? You had me with the premise of the show. I kept waiting for Ashton Kutcher to pop out from behind a gurney and tell us we’d all been Punk’d. (Here’s hoping this part of the story gets downplayed or phased out entirely.)

Anyway, we see Hawthorne struggle almost immediately, which in turn makes her a sympathetic protagonist almost immediately. When not butting heads with her crab-in-law (Joanna Cassidy, Six Feet Under), she builds up a fair amount of tension with chief surgeon Tom Wakefield (Michael Vartan, Alias). Same goes for her relationship with her daughter, Camille (Hannah Hodson), who seems like a chip off the ol’ renegade block.

So how does Hawthorne regain control when so much of her life seems to be careening out of control? She takes command of the hospital. Pinkett Smith plays the character with her usual intensity, and since she’s one of the show’s executive producers, I expect she’ll continue to do the right thing with HawthoRNe. And when the patient subplots start to pair nicely with the characters being developed, this show will really hit its stride and maybe even persuade a few ER fans to join in. Overall, a lot of great things are happening for HawthoRNe, but some adjustments are necessary.

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21st Century Digital Boy: Adapt, Migrate, or Die — “ER,” “Guiding Light,” and “Life on Mars”

450guidinglightprint20051After 15 big red-letter seasons, NBC’s ER came to an end on Thursday night, earning its largest audience in nearly three years—some 16.2 million viewers, according to Nielsen estimates. This audience represents the largest showing for a dramatic series finale since CBS’s Murder, She Wrote ended back in 1996.

The two-hour finale of the long-running, ensemble medical drama was informed by the real-life tragedy of Shelby Lyn Allen, a 17-year-old Redding, California, native who died of alcohol poisoning in December.

I won’t spoil the details (mainly because NBC continues to repeat the finale for those who missed it), but suffice it to say it capped the end of an era in more ways than one. Dr. Carter (Noah Wyle) opening his brand-new medical facility in Chicago for the less fortunate was the new beginning at the end of ER; the question is, where might a Wyle-anchored spin-off end up in this day and age, if at all?

ER’s finale wasn’t just the end of an era for the Peacock’s 10 PM drama slot, which surrenders to Jay Leno’s new weeknight prime-time show in the fall. It also appears to be the front end of a trend to come: where more high-impact network dramas adapt to new delivery methods, migrate to cable, or die on the vine for affordability reasons.

That “adapt, migrate, or die” thought was an interesting one to ponder in the context of television. That’s how ecologists describe options for a species when a “forcing function” like climate change is looming . It’s a perfect parallel for TV in the 21st century: programming decisions are increasingly met by forcing function(s) like the down economy, rising production costs, varying delivery technologies, wider battles for smaller audiences and so on.

How else can one explain the end of Guiding Light—the longest running show in broadcasting history— which will cancel on CBS after a monumental run? The archetypical “soap opera” was a staple for Procter & Gamble to “peddle” household cleaning products and sundries to women. P&G’s people are changing with the times; they’re thinking about web portal content with original digital material to connect with increasingly wired homes (and moms). They’re certainly not the only ones.

And lastly, speaking of digital, the brain robots in the second-to-last Life on Mars (ABC) really had me thrown—especially when yours truly had it figured as the last episode. Serves me right for paying more attention to my NCAA brackets than the TV guide lately. Or perhaps I was having my own weird, asteroid-interrupted dream involving Mackenzie Phillips and Valerie Bertinelli. I know, TMI.

Ahem. Anyway, I never had Mars pegged for a sci-fi, 2001:A Space Odyssey-meets-Mission to Mars that it revealed itself to be. It all made me wish this freshman show had carried on. I didn’t figure Gene was Sam’s dad or that they had all been asleep during a two-year Mars mission. I couldn’t have imagined that what we were following were “neurological simulations” that were warped by faulty tech after an asteroid shower.

The only thing missing? The HAL-9000.

One thing is certain after this week: none of us are going to wake up to television like in 1973 (or 1975, to honor my One Day at a Time daydream) anytime soon.

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Popdose Interview: Sarah Negahdari of the Happy Hollows

In just two short years, the Happy Hollows have racked up some impressive milestones since their formation in L.A. – they’ve released two EPs (with a full-length album on the way), filmed about a half-dozen videos, played opening slots for sold out West coast appearances by the Silversun Pickups and Deerhoof, and have just played their first East coast date at New York’s annual CMJ festival on October 25.

In the midst of preparing for the release of the band’s new EP, and in the run-up to the CMJ appearance, Popdose seized the opportunity to catch up with the zany leader of this feisty Pixies-inspired band of indie rockers with the Fugazi-esque rhythm section, Sarah Negahdari. The original plan was to pass the phone between Sarah, bassist Charlie Mahoney and drummer Chris Hernandez, but as life took over, the plan didn’t quite work out that way. Instead, Sarah talked our ear off all by herself, getting us caught up with the history of the Happy Hollows, their new EP Imaginary (it’s free!), growing up with hippie parents, making a video with tiger cubs, and all sorts of other fun stuff.

Sarah Negahdari: Hello?

Popdose: Hi, is this Sarah?

SN: Yes! Hi, is this Michael?

PD: This is! How are you doing?

SN: Hey! How are you doing?

PD: I’m doing alright! You got the whole band together?

SN: No. (sounding disappointed) It’s been such a crazy day for Chris and Charlie, and they live so far away from me, and they can’t get here and they’re so sorry.

PD: Ohhhh, well definitely send them my regards.

SN: Oh, they are so sorry, they tried really hard.

PD: Well, maybe you can speak for them at certain points.

SN: OK.

PD: …and if not, I’m sure maybe we can hook up again another time.

SN: Good, cool. (laughs) Thanks you again so much for the Popdose interview! We’re gonna put a link to it really soon when we’re gonna start pushing for our EP. (more…)