So, where was I...
Last I was in these parts I was wrapping up
a series of posts on THE GOOD PLACE, which for all we know might now be the last great TV show produced. I'm tempted to start another rewatch of it already. Maybe that will ease my worried mind.
For future historians given the unenviable task of going through this, the past two months have lasted about two years, and been taken up with the escalating COVID-19 pandemic and the variable but often inept and incompetent reaction to it by various world leaders (you historians can weigh in on whether corrupt and criminal also apply there). There have also been some inspiring moments from people closer to the frontlines.
And there's been me, mostly watching an unhealthy amount of television. I'm sure I'm not alone in that...
For the first month, I largely retreated to older comfort TV. I had found out a while ago that the Canadian broadcast networks CTV and CBC had a fairly large and free selection of TV shows that I had enjoyed at various phases of my life, and a pandemic seemed like a good excuse to finally dive into some of those. For most of the shows that don't have much in the way of on-going plots I'm watching them in mostly random order, sort of how I would have if I was only watching them on days off from school in 1980 (with some fudging for obvious multi-part episodes). I'm also deliberately not binging any of them, so won't watch more than one episode of each a day (usually waiting at least two days between episodes) no matter how tempting. A few shows I tried one or two episodes and decided they weren't for me, and a few I know I'll like I'm saving in case of dark days ahead.
Starting today I have access to Amazon Prime and Starz for at least a month, so I'm shifting over to that (and mostly shows I haven't seen before) for a while. After that month is done I'll probably assess which of these shows I missed and want to continue with.
So, we start off with 1960s shows.
(note, I recognize as older shows get the more troubling some of the blatant sexism, racism and homophobia is in some of them, even well-intentioned ones at the time, so I can't really recommend them to people without the nostalgic connection, but I'm also not going to dwell on that)
BEWITCHED is one I used to watch on afternoon syndication back in the day. It's no surprise that it mostly holds up on the considerable charm of the actors, especially Elizabeth Montgomery as Samantha (and doubly so as her cousin Serena). Either Darrin can be annoying, but I guess that's an intentional contrast. It's especially a treat when one of the regular supporting characters shows up, especially Paul Lynde as Uncle Arthur. After about a dozen random episodes I went back to the earliest ones, which I don't remember ever seeing, and may not have even been on the syndication cycle back then (doing some quick checking, I see the first two years were in black and white, so I'm seeing colourized versions of them. Have to admit, colourizing has come a long way since the early blotchy efforts I remember them trying to pass off in the 1980s. These versions are also framed widescreen instead of the 4:3 ratio of the original, which I'd prefer they weren't, but it's not that noticeable). Definitely a different show, with a narrator in at least a few episodes. Anyway, good when you need some light-hearted distraction TV, I'll come back to it, maybe with a selective episode choice like everything with Serena, Uncle Arthur or Doctor Bombay, or maybe look through IMDB and pick out the two dozen highest rated episodes. At 254 episodes there's a lot to choose from.
Closely associated with BEWITCHED is another magic based sitcom of the 1960s, I DREAM OF JEANNIE. It's definitely the lesser of the two, also boosted mostly by the charm of its lead, Barbara Eden as Jeannie the genie. It's okay at times. I also went back to the beginning after a dozen episodes, and I see that the first season was also originally black and white and not in the syndication package I saw as a kid. The early ones aren't that different, with the main difference being that Bill Daily's character doesn't know about Jeannie. Anyway, I might come back for a more selective choice of episodes. If the quarantine lasts long enough for me to see all of them then I don't know what kind of world we'll emerge into. The versions available also seem to be syndication cuts, about three minutes shorter than the originals, and really poorly done. Key plot points are often missing, while lots of easily cut fluff are left in.
The other 1960s show I'm watching is new to me, THE FLYING NUN starring Sally Field. I'd heard of the show before, but either it was never on locally or I just didn't care to watch it. Until a month ago I couldn't even have told you that it was set in Puerto Rico. It's very odd, about half the episodes I've seen the flying aspect is pretty much shoehorned in, and the story could have worked as well, maybe better, without it. As seems to be the rule for these shows, Sally Field is pretty much carrying it on her charm and personality. Not sure if I'll get back to it, but it might be a decent once-a-week folding laundry show.
Moving into the 1970s, I've been going through a trio of shows from Norman Lear's prolific output, SANFORD AND SON, MAUDE and THE JEFFERSONS. I'd already watched a few seasons of ALL IN THE FAMILY just last year, thanks to DVD copies from the library, and am looking forward to continuing those when the quarantine lifts (see also MARY TYLER MOORE, I LOVE LUCY, DICK VAN DYKE SHOW and THE TWILIGHT ZONE, among others). These three also seem to be a mix of compete episodes and syndication cuts, although much more thoughtfully edited than JEANNIE.
SANFORD AND SON I watched occasionally as a kid, I remember it as one of the few things my father and I could watch together. As fond memories of my father are pretty scarce, it's kind of odd watching them again. The early episodes are kind of rough going, as most of the episodes are based on the original British STEPTOE AND SON, and they don't really fit the characters as they're developing. The middle years seem really good, with the characters established and stories that fit them. Then, like so many shows, it seemed to last too long, and is almost painful to watch (including a final season episode where Fred Sanford enters a Redd Foxx look-a-like contest). I'll probably come back and watch the middle years. Plus, holy crap, that theme song ("The Streetbeater" by Quincy Jones) might just be the best TV theme ever (maybe my favourite SCRUBS scene uses that song. That's another show I'll revisit if this lasts).
MAUDE is almost completely new to me for whatever reason. Guess the adventures of a sarcastic middle aged liberal white lady in suburban New York didn't really speak to my issues as much as a young cute suburban witch and her wacky family. I'm still on the fence about it. I don't think anyone else in the cast is even close to Bea Arthur's league (except Esther Rolle as the maid Florida Evans, but she's spun off into GOOD TIMES fairly quickly, and you can see why, but leaves a big hole in this show), and it's very of its time. Definitely can't see myself watching all of it. Maybe after I watch the episodes of ALL IN THE FAMILY which introduce Maude when those are available again. And I might add GOOD TIMES to the rotation . Plus, again, theme songs on both shows and the next one. Norman Lear definitely had an ear for that.
THE JEFFERSONS I would watch sometimes as a kid, but most of it is new to me. It seems to start off pretty strong, also coming out of ALL IN THE FAMILY, and put a much stronger supporting cast around Sherman Hemsley then MAUDE had around Bea Arthur. But it also lasted eleven seasons, and I think that might be too many for any show, with the latest one I saw featuring George and Tom trying to set an elevator riding world record. Sic transit gloria. I think I'll get back to it but keep in the first five seasons. Also going to have to get the backdoor pilot from an ALL IN THE FAMILY episode from the library when that opens up again. I've seen a few other FAMILY ones where the Jeffersons appear, but not the main one where they move on up to their deluxe apartment in the sky. Seriously, these Lear theme songs...
The other show of that era I've been watching outside of the Lear-verse is BARNEY MILLER, which is proving to be the ultimate in comfort TV for me. I almost don't regret that there are only syndication cuts, sometimes clumsily edited, available, since that's what I probably saw when I first watched them. It's such an unlikely show, rarely leaving its two room set, with the same stock character actors returning in multiple roles, not paced like anything on today, maybe not like anything else ever. Some great characters, minor on-going bits but almost completely stand alone, like little weekly stage plays. This is the one I'm most tempted to just watch non-stop, I'll definitely get back to it and if this situation lasts long enough I could see myself just taking a day to watch ten hours of nothing but random BARNEY MILLER.episodes. I especially like the ones with Abe Vigoda as Fish. I kind of wish his spin-off was available, I don't think I ever actually saw an episode. Also, Lear did not have a monopoly on cool theme songs.
Still in the 1970s, I did try CHARLIE'S ANGELS and FANTASY ISLAND, which I have vague memories of. They didn't really grab me yet on a random sampling. I think if we hit six months on the quarantine I might put them on a weekly rotation with a strongly curated selection of episodes. I might also wait until I have complete episodes available, as some of these appear to be syndication cuts. Either that or the stories are really fragmented. It's kind of funny how almost every episode of FANTASY ISLAND has two distinct stories with different writers and casts that never intersect, presumably so they could split them into a half hour version for other markets.
And in the late 1970s, SOAP was one of the first TV shows I ever watched all the way through in the modern age of streaming TV, having watched it occasionally as a kid when most of it went over my head. The complete sequential watching was over a decade ago, so most of it has faded, and watching it in random order is kind of fun, even if it makes no sense for a show built on on-going stories and absurd plot twists. Also, the versions available on CTV of this and BARNEY MILLER are pretty low resolution, they look like taped VHS copies, I'd love to see pristine copies if they exist.
To complement SOAP, I'm also watching its long-running spin-off BENSON, featuring Robert Guillaume's character moving into politics. Probably haven't seen this since the 1980s, it's a much less ambitious show than its parent, but also more successful within its limits. The middle years are probably as good as any 3-camera sitcom ever, but the later ones seem kind of rough (including a really bizarre trip to Hong Kong which feels like a completely different show). Through it all Guillaume is easily twice as good an actor as he needed to be for the roll, and shines in a pretty talented cast (as he would later in SPORTS NIGHT, which is due for a rewatch). Definitely getting back to this, I'm not sure anything can ease my mind more than an hour with BARNEY MILLER and BENSON.
Have to jump to the late 1980s for the next show, THE KIDS IN THE HALL, the Canadian sketch comedy show. I've probably seen about half of the five year run of the show, some of them multiple times if they made to on one of the highlight shows, so it's an odd mix of "new to me", "vaguely remember" and "as familiar as an old shoe". Any sketch show is going to be hit-or-miss, but this is probably better than average, it's frequently brilliant and rarely abysmal. I could see watching all of it to make sure I don't miss any hidden gems.
On some vague memories I decided to add PARKER LEWIS CAN'T LOSE to the mix. It's probably the most distilled essence of the early 1990s you can imagine, in good ways and bad. Mostly bad, but I could see it filling the "I don't really want to think now" slot when the superior versions of that have run their course. It can be a bit frustrating as you can see the framework and blocks for a great sitcom peeking out every now and then, but it's never fully realized, at various times let down by the writing or the acting.
Now, sharp turn to THE LARRY SANDERS SHOW, where we have one of the best TV shows ever made. First saw most of it on late-night reruns in the late 1990s, it was another of my first streaming binges when that became a reality about a decade ago, watched it all the way through again about five years ago, now watching it in random order for a minimum third time on each episode. Still great, it's one of my go-to show when any of the others delivered an especially bad episode and I need an antidote. I know the show is well regarded, but I still don't think it gets enough credit for how much it established the course for modern TV and just how revolutionary it was in 1992. Rip Torn as Arthur is always a delight, one of my favourite TV characters ever.
A more conventional show that debuted around the same time was MAD ABOUT YOU. I probably saw about a third of these before. It's usually reliable, but a bit uneven, especially the later years, and I really don't know if sometimes the writers are really aiming for you to hate Helen Hunt's character, which is weird because it's hard to hate Helen Hunt. It's all a bit weird because unlikable characters are a dime a dozen on TV shows, but I can't ever recall another character who's made to be unlikable in so many subtle ways
Another familiar shoe show is next, NEWSRADIO. I think I've seen every episode of this show at least five times over the years, some episodes must be well over a dozen, I know where every joke is coming from, many I speak out loud in advance and I still laugh. How good a show is this? I can watch a scene with Jon Lovitz, Joe Rogan and Andy Dick, with all that entails, and the last 20 years of what they've become melts away. At least for the moment. And the Phil Hartman seasons, just a heartbreaking joy how good he was in that role.
THE SHIELD is another re-watch show. I recall it being a bit uneven and increasingly improbable as the bad cops continue to escape being busted in the face of what should be overwhelming evidence. But always very well made, and interesting as a still fairly early show in the modern age of prestige TV. One of the few I'm re-watching in order instead of random shuffle.
CORNER GAS is also a re-watch show, but back to random. For those unfamiliar, it's a long-running Canadian show about a small town in rural Saskatchewan. It took a few tries for it to hook me, but then it became a favourite and for a while I watched four episodes every weekend on the DVR. I tend to think of it as like a Canadian version of NEWSRADIO, not as revolutionary, a decade later, much milder, variable exchange rate, with ketchup chips and universal health care...
THE BOONDOCKS is almost all new to me, and the only animation in my rotation for the last month. I'm still not sure how I feel about it, I'll try a few more later. But I can assure you I'll never watch another fourth season episode (which just checking now, was made years later and without the original creator Aaron McGruder involved). Those were just awful.
DAMAGES is another re-watch, although I originally saw it out of order, I think Seasons 3 and 4, then back to 1 and 2 and then eventually 5, several years later. This time I'm starting from the top and seeing if it works better like that. I mostly like it, it's a nice switch-off piece to THE SHIELD to watch on alternate days.
COMMUNITY was my favourite new show for the first three years it was on, though it kind of limped to an ending. It still mostly holds up, several watches later, although so far I've been avoiding the "gas leak year", which it never fully recovered from. But there is still a lot to enjoy in those last two seasons.
From here on it's mostly recent stuff that is new to me. THE MICHAEL J. FOX SHOW is a pretty standard family sitcom, elevated by a really good cast, but that wasn't apparently enough to get it more than a year. A shame, it's better than most.
BATTLE CREEK I don't even remember hearing about in its brief 13-week 2015 run. It's from the creator of BREAKING BAD and the creator of HOUSE, and you can see aspects of the DNA of those two far more successful shows in the structure of this one. I admit if I was watching it new I'd probably have given up after two or three, but knowing there are only 13 and I didn't have to wait a week for the next one I kept going and it's pretty solid, with enough promise that I think it could have become really good eventually.
DOCUMENTARY NOW is a kind of a shadow spin-off of SATURDAY NIGHT LIVE, with Lorne Michaels producing and several former SNL cast members writing and performing. Every episodes is a pretty much an extended SNL filmed piece taking a different style of documentary and doing a spot-on parody of it. I'm a big fan of all of the main creators' post-SNL work (Fred Armisen on PORTLANDIA, Bill Hader on BARRY and Seth Meyers on his talk show LATE NIGHT). There are only 21 episodes over three years, so far I've seen a third of them. All are pretty funny in different ways, and the production work on making them look like the source material is top notch. My favourite has been the two part one about the short-lived 1970s rock band "Blue Jean Committee". Probably not a coincidence that that's the closest they've gotten to THIS IS SPINAL TAP, the grandparent of the mock documentary form (there's got to be a word for that...). On the other hand, their version of the Talking Heads concert movie STOP MAKING SENSE was almost more of a cover version than a parody. Anyway, I'll definitely watch the rest of the episodes and the next season whenever it starts.
BURDEN OF TRUTH is another Canadian show, this time a legal drama that spends the first season on the poisoning of a small town and the big city lawyer with roots in that town getting more involved in it. The first season is pretty good for what it is. The second season is getting kind of ridiculous with stories about cyber security, hacking and murder. Only a few left to go, I'll probably get to them eventually.
And finally there's the recently concluded SCHITT'S CREEK, another Canadian show, but one which made major in-roads into the world market recently. Like most people it seems, I was a late adopter to the show, which began in 2015 and just ended last week. I finally got intrigued enough early last year, after Chris Elliot was a guest on NEVER NOT FUNNY, and pretty quickly ran through the four seasons available then, and later watched the fifth, and then actually was planning to start on the final season just as the quarantine days began. The timing worked out nicely that I was actually up to the series finale the night it aired. Other than THE GOOD PLACE I hardly watch any scripted show the night it airs. Anyway, Dan and Eugene Levy managed to under the radar create and star in what is definitely a top ten all time tv show in its class (Canadian family/workplace/community single camera half hour sitcoms) but maybe a top ten all-time sitcom. Too early to tell, but give me a few months and I know I'll be rewatching it at least twice, once straight through and then it'll join the random comfort viewing roster.
