for a few daleks more

A week from tonight, on Thursday the 28th, Turner Classic Movies will broadcast “Dr. Who and the Daleks.”

As you know, I’m a big fan of the TV show “Doctor Who.” I was first introduced to the classic version of the show in the early 1980s, when I was in college and Oklahoma Public Television ran Tom Baker or Peter Davison episodes every night.

I’m a big enough fan to know a couple of things:

  • “Doctor” is always spelled out in the title of the TV show
  • The primary character of the TV show “Doctor Who” is not called “Doctor Who.” That’s a rookie mistake. The character is “The Doctor”; the show is “Doctor Who.”

I have gone on at length in other blog posts explaining what “Doctor Who” is for those unfamiliar. I will, however, explain that the original version of the show (which ran from 1963 to 1989), a mid-90s TV movie, and the current version of the show (which started in 2005) are all part of the same continuity – one long storyline, if you will. The new version isn’t a remake or reboot of the original; it’s a continuation.

Anyway, “Dr. Who and the Daleks” is not an episode of the TV show. It’s one of two movies from the 1960s which attempted to launch a theatrical movie franchise. Both movies were adapted from stories that had already been done on the British TV show, but they made changes to the show’s basic premise and so the two movies are NOT considered part of that continuity I just spoke of. In the movies, “Dr. Who” is not an alien, he’s a human who just happens to be a brilliant inventor, the creator of a time machine (the TARDIS).

The Daleks, by the way, are the Doctor’s most-famous adversaries. They are like evil versions of R2D2 – not robots, actually, but cyborgs: living brains, bent on galactic dominance, in robotic, salt-shaker-shaped bodies.

The movies don’t hold up to the TV show, but fans may want to see them just out of curiosity. Peter Cushing stars as “Dr. Who.” The second movie, “Daleks: Invasion Earth 2150 A.D.”, features a very young Bernard Cribbins, who would turn up decades later as one of the most-beloved guest characters on the new version of “Doctor Who,” Donna Noble’s grandfather Wilf. I have seen “Daleks: Invasion Earth 2150 A.D.,” but I have never seen “Dr. Who and the Daleks,” so I have set to tape it next week on TCM. I don’t expect it to be very good, based on what I’ve read, but it could be fun just as a novelty.

goodbye, goodbye

I flipped over to IFC to watch “Comedy Bang! Bang!”, one of my favorites, and the movie “Fast Times At Ridgemont High” was ending. There’s a song, played at the end of the movie and during the credits, called “Goodbye, Goodbye,” by Oingo Boingo.

The catchy chorus made be flash back to 1993. On what would be the very last night of “Late Night with David Letterman,” NBC aired a promo for the show which featured that chorus – “Goodbye, goodbye, goodbye, goodbye, goodbye, goodbye, goodbye” – over slow-motion footage of Dave standing up from behind his talk show desk and walking away. I don’t think it was anything staged; I think they just got a clip from some previous episode, slowed it down, and added the music. It was minimalist – but strangely appropriate. I was surprised the network was doing promos at all, because of the awkward and highly-publicized situation that led to Letterman’s exit, and the fact that he was already preparing to set up shop elsewhere.

CBS, of course, is still on good terms with Letterman, and they know that his last shows – which have been great – are a ratings windfall. So they’ve been promoting them heavily. I saw one promo last night, referencing the very last show this coming Wednesday, which included just a little snippet of “Viva La Vida” – the Coldplay song with the lyrics about “when I ruled the world.” They didn’t actually have the lyrics in the promo – just the catchy string intro. But it still evoked a sort of nostalgia. One of those SNL decade-by-decade documentaries ended with that same song, used to that same effect.

Dave is scheduled to have Tom Hanks on Monday, and Bill Murray (who was the first guest on both “Late Night” and “Late Show”) on Tuesday. Like Johnny Carson, he has no announced guests for his final night, so we’ll see what happens then. The rumor is that there’s going to be some sort of all-star Top Ten list, with ten huge stars delivering the entries, but I don’t know which night that might happen. Surely Regis will show up at some point. Dave has pooh-poohed the idea of Leno making an appearance. Dave, in at least one interview, said Leno invited Dave to appear on one of his last shows, but Letterman declined, saying the focus should be on Leno. Dave then said Leno had been invited, but may feel the same way about stealing focus from Letterman. Still, I wouldn’t rule it out entirely. They were able to keep that Super Bowl promo a total secret a few years back, so perhaps they have some similar surprise here. (Maybe Wednesday’s show will end with them waking up in bed together, “Newhart” style.)

Oprah is on tonight, by the way.

Other Space

I didn’t binge-watch “Other Space” all in one sitting, but it only took me a few days to get through the eight-episode season of this quirky science-fiction comedy. I thought it was terrific, and I’m hoping against hope for another season. I don’t know if that’s likely, since creator Paul Feig (who originally pitched this show to NBC, years ago) is now better known for movies like “Bridesmaids.”

This isn’t for everyone. It’s somewhere in the neighborhood of “Red Dwarf” or even “Futurama” — a playful comedy which has some fun with science fiction tropes.

The thing that caught my eye in advance was the participation of not one but two veterans of “Mystery Science Theater 3000.” Joel Hodgson plays a live-action role, while Trace Beaulieu (Dr. Clayton Forrester and one of the voices of Crow T. Robot) is the voice of another robot, named ART. The show also, strangely enough, has actors from two different AT&T advertising campaigns. Karan Soni plays the closest thing the show has to a central character, and he played one of those two technicians who appeared in several different ads about AT&T upgrading its network. (“Did it hurt when you fell from heaven?”)

Milana Vayntrub, meanwhile, is nearly ubiquitous (unless you watch everything by DVR and skip through the commercials) as Lily, the perky AT&T wireless salesperson.

Anyway, the show is set in an future where space travel has become sort of routine. There’s a space agency called the Universal Mapping Project, or UMP, but most of Earth has lost interest. There are still those with the itch to explore, however, including the cheery, eternally optimistic Stewart Lipinksi (Soni) and his hard-driven, ultra-competitive sister Karen (Bess Rous). Stewart, somewhat improbably, gets command of his own ship, with his furious sister as one of his crew members. But Stewart, Karen and their largely-incompetent, misfit crew have just begun their journey when they get bumped into an unknown alternate universe. They must find a way to stay alive — and keep from killing one another — until they can figure out how to get back home.

The whole ensemble cast is excellent, including the names already mentioned plus Neil Casey, Eugene Cordero and Conor Leslie. Hodgson seems to be having a ball as the ship’s somewhat-addled engineer.

It really is fun, if you’re any sort of science fiction geek, and I really do hope they get to make another season.

Here’s the first episode. You can watch others at the Yahoo! Screen web site or by installing the Yahoo! Screen channel on Roku and similar devices. (“Community” is also available there.)

bread head

My friend Sue Thelen was baking bread today, with a sourdough starter I gave her, and posted about it on Facebook. Something in her post reminded me of something I heard once – there are cooks, and there are bakers. Cooks tend to change and adapt recipes to suit their taste, their imagination, and whatever happens to be in the cupboard. Bakers, however, have to follow a recipe a little more closely. In many baked goods, for scientific reasons, a slight difference in, say, the ratio of flour to water can make a big difference. Bakers care whether they use bread flour, all-purpose flour or cake flour, and they know the difference.

I tend to be a cook, and I’m not the type to bake desserts or pastries, but I do love to bake bread, and I can generally stick to a recipe well enough for bread to turn out. I’m still amazed that I’ve been able to keep my home-grown sourdough starter alive for so long now.

Father Dominic Garramone, an actual Benedictine monk, used to have a show on public TV called “Breaking Bread with Father Dominic.” Yes, baking can be picky, but you can’t stress over it too much; Father Dominic used to say, repeatedly, “It’s bread; it’ll forgive you.” I’ve found that to be true. Even if a loaf of bread is a little denser than expected or a little softer than expected, it’s still usually good.

After I told Sue that earlier today, however, I had a less-than-forgiving moment tonight. I had reserved half of the bread dough from this past weekend, frozen it, and then thawed it overnight last night. I let it rise today and put it in the oven tonight. So far, so good; I now know I can safely freeze bread dough.

The trouble is that the rickety oven in my apartment does strange things sometimes, and I had the thermostat turned up a little too high tonight, causing the broiler to turn on, burning the top of the loaf before the center had even started really baking. I had to throw it out.

Sue’s loaves today turned out well, and since that was my starter I can at least take some solace.

I was happy that our conversation made me think of Father Dominic, by the way; I had no idea that he had a website, and a blog. There are some short videos, “Breadhead Minutes,” which apparently still run on some public TV stations (I haven’t seen them locally, but I may have just missed them).

Interestingly enough, my tech column in today’s Times-Gazette referenced Leo Laporte’s TWiT Network and the new relaunch of “The Screen Savers,” both of which feature another Catholic father who dabbles in television on the side – the likable and knowledgeable Father Robert Ballacer, a Jesuit priest. If the Wittenburg Door were still active, I’d be pitching interviews with both of them.

uncle walt’s archives

When the Disney Channel first went on the air, it was a premium channel, not ad-supported, although not every cable system charged for it. It was aimed at the whole family. Some offered it for free, as a way of boosting subscriptions. And it was originally conceived, in part, as a way of leveraging the huge vault of content the Disney company had acquired over the years, some of which hadn’t been seen in years.

As time went on, of course, the channel’s emphasis shifted, and now the Disney Channel is mostly about new content, some animated, some live action. There are several different channels, all aimed at kids — The Disney Channel is aimed slightly more at girls, while Disney XD is slightly more for boys, and there’s a separate channel for younger kids. But it’s kind of a shame that there’s no full-time showcase for some of that older material.

So it’s nice that Disney now has a deal with Turner Classic Movies to occasionally showcase older Disney content, in a Sunday-night package hosted by Leonard Maltin. It’s been running tonight, with a mix of movies, cartoon shorts and Disney TV episodes. I just wish there was some way to see some of that content more often. I also wonder what Walt would think about the fact that, with all of the channels owned by ABC and Disney, this material has to find a home on someone else’s channel.

things snl ought to bring back

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.

and so it goes

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.

remedial freed unit

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.

It’s all been done

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.