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NOTE: I will be liveblogging the “Saturday Night Live” 40th anniversary prime time special at this website Sunday night.
I have really enjoyed VH1 Classic’s “SNL Rewind,” a rerun of the vast majority of “Saturday Night Live” in reverse chronological order (except for a few themed programming blocks) over the past week or two, in preparation for the show’s 40th anniversary special on Sunday night.
One thing I’ve noticed (and I didn’t necessarily see all of these episodes during “SNL Rewind” – in some cases, I was just reminded of them) is that at certain points in the show’s history, they’ve been willing to monkey around with the format a little bit. Some of these variations were things I wish they’d revive – at least every now and then:
Onscreen graphics: I loved the little bumpers they ran during the original years of the show when going to commercial (“COMING UP: Is Roy Rogers Trigger-Happy?”), especially the ones where they’d zoom in on some unsuspecting audience member and put something on screen like “Won’t put out until the third date.”
Show-long running gags: As much as people malign the Dick Ebersol years, when Lorne Michaels wasn’t running the show, one thing they did well during that time was have fun with the format of the show itself. This included things like the extended coverage of Buckwheat being shot or the telephone poll over whether or not to boil and eat Larry The Lobster. They had an episode with multiple hosts. There was even a little of this during the show’s original run – such as the “anyone can host” contest.
The ill-fated first season of Lorne’s return – the one with Randy Quaid, Robert Downey Jr. and Joan Cusack – included an episode like this, based around the conceit that SNL had brought in Francis Ford Coppola to direct.
Standup or specialty performers: Some older SNL episodes had not only a musical guest but a comedy guest. Andy Kaufman, Joel Hodgson and even Harry Anderson appeared on SNL this way. I don’t suggest that they get a different run-of-the-mill standup comedian every week, but the occasional unique comedy talent would be better than another iteration of “What’s Up With That?” or whatever running sketch they’re running into the ground this week.
Trying new things in general: The Ebersol years had – and I had forgotten this – occasional segments similar to Jay Leno’s or Jimmy Kimmel’s man-on-the-street segments. I’m actually not advising that they do this specifically, but an occasional piece of unscripted comedy, taking advantage of SNL’s New York City location, might not be a bad thing.
There’s a lot of hand-wringing in some quarters that says the show as it is currently composed is doomed – it’s no longer appointment television because everyone knows that if something really funny happens, you can simply go online and watch the clip of that individual sketch the next day. There’s been some talk that whenever Lorne decides to retire, the show will go with him. But I think they should at least see if new hands could bring a fresh approach, and a willingness to play around with the format. If that happens, people might feel the need to watch the show live again.
Julia Louis-Dreyfus was playing Linda Ellerbee just now on early-80s SNL. I had not thought of Linda Ellerbee in ages.
I remember in the 70s when SNL ran three Saturdays a month and the irreverent and ahead-of-its-time NBC News show “Weekend” ran the fourth Saturday, which actually helped alleviate SNL rerun burnout. Ellerbee, with her wry, very un-anchor-like humor, anchored it, and then later anchored the critically-acclaimed “NBC News Overnight.”
But what I remember her best on was “Our World” on ABC, a fascinating show produced by the news department which was sort of a weekly mini-documentary focusing on one year, or occasionally a shorter period, from earlier in the century. Ellerbee co-hosted it with Ray Gandolf. Nobody watched it, because it ran against “The Cosby Show” on Thursday nights. It was relatively cheap to produce, and thus was basically ABC throwing up a white flag in that time slot, which they knew they weren’t going to win as long as Cosby was on the air. But the affiliates don’t like it when the network surrenders like that (see “The Jay Leno Show”) and the show was cancelled.
Gandolf usually opened the show (although Ellerbee opens it in the clip below) by saying “For the next hour, think of your TV as a time machine.” Then, Ellerbee got the last word, so that she could use her famous signoff from “Weekend” and “Overnight,” “…and so it goes.”
It was well done, while it lasted.
Ellerbee later went on to host a news show for children on Nickelodeon, which I’ve never seen. If Wikipedia is to be believed, it’s still on the air.
Nashville Public Television is currently running a bizarre little special called “Classic Hollywood Musicals.” You might think that a special with that title would be about the breadth and scope of Hollywood musicals, but this is basically about five of them: “The Wizard of Oz,” “Singin’ In The Rain,” “Seven Brides For Seven Brothers,” “Yankee Doodle Dandy,” and (so help me) “Viva Las Vegas.” The special jumps around, presenting a clip and a few little details about one of the musicals, and then another, and then another. There’s no rhyme or reason to it, no attempt to connect any of the movies to each other, and it’s written at a really simplistic and elementary level — many of the little details presented as fascinating revelations are actually old news to any classic movie fan. Is there anyone left who doesn’t know that the studio bosses tried to cut “Somewhere Over The Rainbow” from “The Wizard of Oz”?
What makes matters even worse is that it’s pledge drive season, and the woman co-hosting the pledge breaks keeps gushing about how she hasn’t seen, for example, “Singin’ In The Rain” in decades. She literally said that – decades!
Now, I realize the pledge break is intended to plug public TV stations and their programming. I wouldn’t expect them to mention or acknowledge Turner Classic Movies, a cable channel. But it sounds just bizarre to imply that these movies have been hidden away in a vault somewhere. “Singin’ In The Rain” probably gets shown an average of once a month on TCM. A good three-quarters of the people interested enough in classic movies to sit through this pablum-based documentary in hopes it will eventually become interesting is either a TCM viewer, or has a shelf full of classic movie DVDs, or both.
Yes, I guess there are probably a few elderly technophobes, receiving their public TV station by antenna, without DVD players, for whom catching a glimpse of “Yankee Doodle Dandy” is a rare and special treat. But that seems like a niche, not an audience.
I have not gotten the chance to watch the new TV series “Gotham,” although some of my friends have praised it on Facebook.
The show is set in Gotham City, but without Batman – it’s set at about the time that young Bruce Wayne’s parents are gunned down. It follows young police officer James Gordon as he tries to keep his integrity while rising through the city’s corrupt police force, as well as showing or hinting at the origins for various other Batman villains.
The pilot was supposed to have been spectacular, although some critics haven’t been as impressed with the subsequent episodes.
I probably ought to check the show out, but I’m suspicious of the premise. To me, prequels like this end up being kind of forced, especially when you know for certain where the characters are eventually going to end up. I was never a regular viewer of “Smallville,” but I had to laugh at the episode descriptions – apparently, every major figure in the DC universe eventually had a flat tire while driving through the same little town in Kansas. What are the odds?
One thing almost no one has mentioned, and it surprises me, is that “Gotham” is not the first attempt at a Batman-free TV series set in Gotham City. That would be “Birds of Prey,” from 2002. I did see a few episodes of that (although it didn’t last very long).
“Birds of Prey,” based on a pre-existing DC comic book, takes place in a post-Batman Gotham City. Batman has had a final confrontation with the Joker, and it resulted in Selina Kyle (Catwoman) being killed by one of the Joker’s henchmen. Bruce Wayne, consumed by guilt and grief, disappears, and apparently the people of Gotham are too slow to notice that both Bruce and Batman disappeared from public view at about the same time.
“Birds of Prey” is about three women who try to protect the city in Batman’s absence, assisted by the always-loyal Alfred Pennyworth. Barbara Gordon, Commissioner Gordon’s daughter, is vaguely known in popular culture for being Batgirl, as in the 1960s TV series. But in the comics at the time, she was a little older, confined to a wheelchair, and using the superhero name Oracle. (Batgirl returned to the print comics just recently, as part of a company-wide reboot of DC storylines.) Huntress (Helena Kyle) is Catwoman’s
teenage daughter, and finds out in the first episode of the show that her father was the now-absent Batman. She has mysterious mutant-like tracking abilities. Dinah, the third member of the team, is a psychic and telekinetic teenager.
Helena Kyle, distraught over the death of her mother and the departure of the father she never knew, has begun seeing a psychiatriist, Dr. Harleen Quinzel. Quinzel is actually Harlequin, who was Joker’s right hand and now runs a crime empire of her own. (The character of Harlequin as the Joker’s assistant was actually created for “Batman: The Animated Series,” but was quickly picked up by the print comics.) At the beginning of the series, neither the patient nor the psychiatrist knows about the other’s secret identity. Mia Sara’s portrayal of Harlequin was easily the best thing about the few episodes of the show I happened to see.
“Birds of Prey” wasn’t a great show, but it had some interesting ideas. I just find it amusing that every review of “Gotham” gushes over the idea of Gotham City-without-Batman, not realizing that it’s been done before.
The other day, when posting (as I often do) a Facebook update about some movie coming up on Turner Classic Movies. I made a passive-aggressive comment about not knowing if anyone paid attention to my classic movie recommendations. What I meant was that I can’t recall anyone ever posting “Hey, John, I watched ‘Miracle of Morgan’s Creek’ on your recommendation, and I never laughed so hard in my life.”
Several people were kind enough to comment on my post, saying that they enjoyed my movie recommendations.
I enjoy introducing people to great movies they’ve never seen before. The high point of my adult life was the 2 1/2 years at Famous Televangelist University when I was in charge of the campus movies, and got to introduce my fellow students – some of whom had grown up in Christian-media-only bubbles – to things like “Casablanca.”
Anyway, later that night, in the middle of the night, I woke up and got to thinking. I’ve been wanting to do some sort of podcast but didn’t think I had a marketable idea. (I also don’t have the infrastructure to do a really professional-sounding, properly-distributed podcast right now.) Maybe I could turn my blithering about movies into some sort of podcast – I would scan the TV listings, in advance, and then do a little five-minute audio, once a week, calling people’s attention to some sort of classic movie, either on TCM or some other station or streaming service.
For a five-minute podcast, I could start by just uploading it to Soundcloud for a few months. If it worked out, and if anyone listened to it, I could eventually figure out some way to turn it into a real, properly-produced, properly-hosted podcast.
I can’t start it right now – I’m going to be pretty busy for the next month or two, between the horse show and the play I’m in – but I’m going to keep giving it some thought.
Saturday night, at 8 p.m. Eastern / 7 p.m. Central, TCM will air “Metropolis” as this week’s episode of “The Essentials,” hosted by Robert Osborne and Drew Barrymore. TCM shows the latest restoration of the movie, released in 2010, and made possible by footage found in 2008 in Argentina. My brother and sister-in-law gave me this as a Christmas gift a few years ago, and it’s one of the best gifts I’ve ever received.
If you have never seen “Metropolis,” or if you’ve only seen the butchered print that existed before 2010, you really need to watch this, or set your VCR.
Even if you don’t like silent movies – and I have to admit, I rarely have the attention span to sit and watch a silent feature film here at home – this is the one to see. It laid the groundwork for so many other things, from “Star Trek” to “Blade Runner.”
The German expressionist classic, released in 1927, just a year or two before talkies became the norm, tells the story of a future civilization deeply divided between the haves and the have-nots. The ruling class lives in a beautiful city of art-deco skyscrapers and flying cars. (Many, many movie and TV art directors, for things like the Tim Burton-era “Batman” movies, have cited “Metropolis” as an influence on their futuristic urban landscapes.) The working class works underground.
Freder Fredersen is the privileged son of Joh Fredersen, the leader of this futuristic city. Maria is one of the workers, and has become the leader of a non-violent resistance movement, hoping for a “mediator” who can bring together the city’s two classes. When she breaks into the city’s pleasure gardens, Freder sees her and is smitten. He ventures into the subterranean world looking for her and is shocked at what he finds there.
Joh Fredersen, disturbed by his son’s newfound interest in the workers and worried because some workers have been found in possession of suspicious maps, turns to his old friend and bitter rival, a mad scientist named Rotwang, who has invented a lifelike android that can be used to disrupt the workers’ resistance movement. But Rotwang has his own priorities ….
Seriously, if you’ve enjoyed any modern science fiction movies or TV shows, you need to see this movie, which laid the groundwork for so many of them. These weren’t cliches in 1927 ….
I admit it – I was the token heterosexual viewer of the Tony Awards on Sunday night, although I was busy with other things and wasn’t watching most of it all that closely. I did like the bit with Carole King and the woman who’s currently playing her on Broadway. But I was about five minutes late switching over to the show – which killed me, because I wanted to see how
this “Duck Dynasty” cast member Hugh Jackman responded to Neil Patrick Harris’ hoop-jumping, everything-but-the-kitchen-sink opening number last year.
I went back and caught the opening later, online. Here it is.
This performance was a tribute to something. I knew what it was, even before Hugh hopped past that video screen on which it was playing. There was a scene from a classic MGM musical in which Bobby Van did a similar hopping number:
In this case, I had never seen the actual movie and could not have told you the name: “Small Town Girl.” I had seen this number as part of “That’s Entertainment,” a feature-length compilation and tribute to MGM’s Freed Unit musicals that ran in theaters, and then on TV, in the 1970s. (The YouTube clip above is taken from “That’s Entertainment,” which is why you hear a second or two of Gene Kelly’s voice introducing the routine.)
I remember Bobby Van and his wife, Elaine Joyce, mostly from game shows. (I was obsessed with game shows as a child, growing up as I did in the heyday of the daytime network game show.) They were each panelists on “Match Game” at one point or another, and they appeared as a couple on “Tattletales,” which was Goodson-Todman’s celebrity version of “The Newlywed Game.” Bobby Van even hosted a few short-lived game shows himself. It wasn’t until I saw “That’s Entertainment” that I realized his celebrity came from any place other than game shows.
Right about the time I tuned over last night, before I had seen the actual number, I laughed out loud at Tori Taff’s response to it on Facebook:
You know you’re of a certain age when u watch Hugh Jackman BOUNCE into#Tonys2014 & all u can think is “Yeah, knee replacements for sure.”
It seems like a strange choice to have the opening number of the Tonys be a tribute to a scene from a movie, but the song to which Bobby Van was hopping was called “Take Me To Broadway,” so maybe it wasn’t such a strange choice after all.
It’s a bad sign that I hadn’t even heard of “Crossbones” until after the first episode had aired, and that NBC is showing it on Friday nights during the summer.
But I have to say, I am thoroughly enjoying it. Maybe since I know going in that it’s not long for this world, I won’t be too disappointed when the inevitable happens.
“Crossbones” is a pirate drama with John Malkovich as Edward “Blackbeard” Teatch. Malkovich is the star, but Richard Coyle as resourceful, well-educated British agent Tom Lowe is the central character. Lowe has orders to kill Blackbeard, but finds himself Blackbeard’s prisoner, in effect, on a secret Caribbean island.
The show is more entertainment than history – an anachronistic steampunk submarine has been hinted at – but there is one interesting historical connection. Earlier today, before watching the first episode, I noticed that the Amazon Kindle deal of the day was “Longitude” by Dava Sobel. This is a non-fiction book about the creation of the first accurate clock that could be taken to sea, enabling mariners for the first time to be able to calculate their longitude, and thus their exact position. The book sounded interesting.
Then, when I watched the first episode, that very clock turned out to be a critical plot point on the show – Blackbeard wants it, and Lowe must try to keep it out of his hands. (I ended up going back and buying the Kindle book out of curiosity, while it was still on sale for $1.99.0)
Malkovich and Coyle are both fantastic, as are several of the other players. (I’m sometimes annoyed by the Coyle character’s dim-bulb Jimmy Olsen sidekick, but that’s a quibble.)
I can’t understand why NBC isn’t giving this more of a chance; I think it’s wonderful escapist entertainment.
Here, if you’re interested, are the first two episodes:
I don’t know what made me think of “Meeting of Minds” the other day. I went looking online tonight and found just two short clips on YouTube. The show doesn’t seem to be available on DVD, nor do I believe it’s been rebroadcast since its original run, which is a shame.
“Meeting of Minds,” which ran on PBS in the late 1970s, was the brainchild of Steve Allen. Allen first had the idea in the 50s, and wanted to include it as a segment on a weekly prime time show he was doing at the time. But the sponsor wouldn’t approve. Later, a Canadian show with a similar premise appeared, and Allen even appeared on that show as George Gershwin, a year or two before his own version premiered on PBS. But although the Canadian version predated Allen’s, Allen actually had the idea first.
The premise was a historical talk show, with Allen as host and the guests being actors in character as historical figures from various eras in time. (Allen’s wife Jayne Meadows was a frequent guest, playing a number of different historical figures on different episodes.) I especially remember one episode with Voltaire and Martin Luther as two of the guests. Allen would bring out the first guest, interview them a little while, and then that guest would stay on stage as the next guest came out. There were usually four guests, and so once you had all four of them on stage they’d start to interact with each other. As you can imagine, Voltaire and Martin Luther were not quite in agreement.
The dialogue was based on the actual writings or reported comments of each real person, but they were artfully edited and woven together by Allen (who wrote every episode) into what sounded like natural conversation.
I see on Wikipedia that there was one episode which made a minor deviation from the format. William Shakespeare was paired, not with other historical figures, but with characters from his works. (Jayne Meadows played the “dark lady” from his sonnets.)
I don’t think I saw anywhere near all of the episodes, but I still remember the series vividly, all these years later. I really wish someone would make it available. Wikipedia says that the scripts are available for educational performance or study, and Allen waived any rights to performance royalties because of their educational nature.
Here’s one of the YouTube clips I found: