Manhattan
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.
The Odd Couple -- Series Finale
November 30, 2009
by David Krell
david@davidkrell.com
On November 13th, Felix Unger was asked to remove himself from his place of residence. That request came from his wife.
Deep down, he knew she was right. But he also knew that someday, he would return to her.
Five years later, he did.
In the final episode of The Odd Couple television series, Gloria Unger gave her fussy, neat, photographer ex-husband a second chance.
Felix and Gloria remarry in the apartment that Felix shares with his best friend -- New York Herald sportswriter Oscar Madison at 1049 Park Avenue in Manhattan.
Oscar’s sloppiness contrasts with Felix’ neatness. Great comedy results.
Their friendship endured their arguments, differences, and opposite views of life.
Where Oscar was chaotic, disorganized, and sloppy, Felix was careful, methodical, and neat.
Where Oscar was happily divorced, Felix kept a candle burning in his heart for Gloria.
In the series finale, the cherry on top was the final scene.
In a salute to their friendship, Felix empties a garbage can on the living room carpet. And Oscar says that in honor of Felix, he will pick up the garbage and put it back in the can.
Felix trusts him and the two men say goodbye as Felix departs for the next chapter in his life. But Oscar dismisses the garbage and leaves the living room.
A few seconds later, Felix returns and says that he knew Oscar wouldn’t pick up the garbage and does it himself.
A great ending to a great show. The final scene perfectly reflects the characters’ respective essences. It keeps Oscar and Felix true to themselves.
Where Oscar promises action, he often does not follow through, merely because he does not think the act in question presents import on any level.
Where Felix requests action, he often commits the act in question himself because it means more to him than it does to Oscar.
david@davidkrell.com
On November 13th, Felix Unger was asked to remove himself from his place of residence. That request came from his wife.
Deep down, he knew she was right. But he also knew that someday, he would return to her.
Five years later, he did.
In the final episode of The Odd Couple television series, Gloria Unger gave her fussy, neat, photographer ex-husband a second chance.
Felix and Gloria remarry in the apartment that Felix shares with his best friend -- New York Herald sportswriter Oscar Madison at 1049 Park Avenue in Manhattan.
Oscar’s sloppiness contrasts with Felix’ neatness. Great comedy results.
Their friendship endured their arguments, differences, and opposite views of life.
Where Oscar was chaotic, disorganized, and sloppy, Felix was careful, methodical, and neat.
Where Oscar was happily divorced, Felix kept a candle burning in his heart for Gloria.
In the series finale, the cherry on top was the final scene.
In a salute to their friendship, Felix empties a garbage can on the living room carpet. And Oscar says that in honor of Felix, he will pick up the garbage and put it back in the can.
Felix trusts him and the two men say goodbye as Felix departs for the next chapter in his life. But Oscar dismisses the garbage and leaves the living room.
A few seconds later, Felix returns and says that he knew Oscar wouldn’t pick up the garbage and does it himself.
A great ending to a great show. The final scene perfectly reflects the characters’ respective essences. It keeps Oscar and Felix true to themselves.
Where Oscar promises action, he often does not follow through, merely because he does not think the act in question presents import on any level.
Where Felix requests action, he often commits the act in question himself because it means more to him than it does to Oscar.
When It Was A Game
November 06, 2009
by David Krell
david@davidkrell.com
Today, the New York Yankees celebrate a 27th World Series Championship with parade in Manhattan’s Canyon of Heroes.
The excitement of the 2009 World Series between the Philadelphia Phillies and the New York Yankees overshadowed the recent steroid scandal.
But baseball has suffered scandals since its beginning.
The Black Sox Scandal of 1919 where the Chicago White Sox suffered accusations of fixing the World Series against the Cincinnati Reds.
The betting scandal involving Pete Rose betting on baseball games, including games played by the team he managed -- Cincinnati Reds.
For a time when the lines were clearer, the heroes were greater, and the myths were bigger, look no further than HBO’s When It Was A Game documentaries.
HBO made three documentaries in 1991, 1992, and 2000 respectively under the When It Was A Game banner.
The musical score, appealing visuals, and artful narration combine for a step into history that even the most casual fan will appreciate.
The musical score’s foundation is its fanfare. It appropriately shows the reverence for the heroes depicted in the documentaries.
The visuals come from home movies -- 8 millimeter and 16 millimeter films shot by fans and insiders from the 1930’s through the 1960’s.
You see stadiums that don’t exist anymore -- Polo Grounds in Manhattan, Ebbets Field in Brooklyn, Sportsman’s Park in St. Louis.
You see legendary players -- Joe DiMaggio and Ted Williams along with old-timers Ty Cobb, Rogers Hornsby, Babe Ruth, and Cy Young.
And throughout the When It Was A Game trilogy, you hear wonderful narration from people who love the game of baseball.
James Earl Jones -- Actor.
Robert Creamer -- Writer.
Jim Bouton -- Pitcher.
Maury Wills -- Shortstop.
Frank Robinson -- Outfielder.
Jim Kaat -- Pitcher.
Al Kaline -- Outfielder.
Thomas Boswell -- Writer.
Bob Costas -- Broadcaster.
John Sayles -- Filmmaker.
When It Was A Game recalls eras when legendary players enjoyed unbreakable associations with teams. Fans could count on their favorite players spending most -- if not all -- of their careers with one team.
Roberto Clemente -- Pittsburgh Pirates.
Al Kaline -- Detroit Tigers.
Hank Aaron -- Milwaukee Braves / Atlanta Braves.
Willie Mays -- New York Giants / San Francsico Giants.
Jackie Robinson -- Brooklyn Dodgers.
Bob Gibson -- St. Louis Cardinals.
Harmon Killebrew -- Minnesota Twins.
The eras depicted in When It Was A Game were eras of greatness in baseball. But the bottom line definitely existed. Promotions took place. And owners were hard-nosed in their negotiations with players in the time before free agents, massive bonuses, and free agency.
But the eras enjoyed deep reverence. And that depth shines clearly in the When It Was A Game trilogy.
Before the first pitch of a baseball game was sponsored, before .220 batters got million dollar contracts, and before stadiums were named for corporations, there was indeed a time when baseball was a game.
david@davidkrell.com
Today, the New York Yankees celebrate a 27th World Series Championship with parade in Manhattan’s Canyon of Heroes.
The excitement of the 2009 World Series between the Philadelphia Phillies and the New York Yankees overshadowed the recent steroid scandal.
But baseball has suffered scandals since its beginning.
The Black Sox Scandal of 1919 where the Chicago White Sox suffered accusations of fixing the World Series against the Cincinnati Reds.
The betting scandal involving Pete Rose betting on baseball games, including games played by the team he managed -- Cincinnati Reds.
For a time when the lines were clearer, the heroes were greater, and the myths were bigger, look no further than HBO’s When It Was A Game documentaries.
HBO made three documentaries in 1991, 1992, and 2000 respectively under the When It Was A Game banner.
The musical score, appealing visuals, and artful narration combine for a step into history that even the most casual fan will appreciate.
The musical score’s foundation is its fanfare. It appropriately shows the reverence for the heroes depicted in the documentaries.
The visuals come from home movies -- 8 millimeter and 16 millimeter films shot by fans and insiders from the 1930’s through the 1960’s.
You see stadiums that don’t exist anymore -- Polo Grounds in Manhattan, Ebbets Field in Brooklyn, Sportsman’s Park in St. Louis.
You see legendary players -- Joe DiMaggio and Ted Williams along with old-timers Ty Cobb, Rogers Hornsby, Babe Ruth, and Cy Young.
And throughout the When It Was A Game trilogy, you hear wonderful narration from people who love the game of baseball.
James Earl Jones -- Actor.
Robert Creamer -- Writer.
Jim Bouton -- Pitcher.
Maury Wills -- Shortstop.
Frank Robinson -- Outfielder.
Jim Kaat -- Pitcher.
Al Kaline -- Outfielder.
Thomas Boswell -- Writer.
Bob Costas -- Broadcaster.
John Sayles -- Filmmaker.
When It Was A Game recalls eras when legendary players enjoyed unbreakable associations with teams. Fans could count on their favorite players spending most -- if not all -- of their careers with one team.
Roberto Clemente -- Pittsburgh Pirates.
Al Kaline -- Detroit Tigers.
Hank Aaron -- Milwaukee Braves / Atlanta Braves.
Willie Mays -- New York Giants / San Francsico Giants.
Jackie Robinson -- Brooklyn Dodgers.
Bob Gibson -- St. Louis Cardinals.
Harmon Killebrew -- Minnesota Twins.
The eras depicted in When It Was A Game were eras of greatness in baseball. But the bottom line definitely existed. Promotions took place. And owners were hard-nosed in their negotiations with players in the time before free agents, massive bonuses, and free agency.
But the eras enjoyed deep reverence. And that depth shines clearly in the When It Was A Game trilogy.
Before the first pitch of a baseball game was sponsored, before .220 batters got million dollar contracts, and before stadiums were named for corporations, there was indeed a time when baseball was a game.
King of Comedy
June 06, 2009
by David Krell
david@davidkrell.com
Inevitably, the best laid plans of summer will conflict with Mother Nature. The day at the beach, the picnic, or the softball game will be postponed because of bad weather.
Perfect time to watch a movie on the flat-screen television. I suggest a dark comedy with a television setting.
In the 1981 film King of Comedy, Robert de Niro plays against type. He does a 180-degree turn from his tough-guy roles and plays Rupert Pupkin. Pupkin is a nebbishy, wannabe comedian from New Jersey who idolizes late night talk show host Jerry Langford, played by Jerry Lewis.
Pupkin meets Langford outside the stage door to the Manhattan studio where Langford tapes his show.
Essentially, Rupert Pupkin stalks Jerry Langford.
Pupkin lives with his mother and sets up the basement to look like Langford's talk show set complete with Jerry and guest Liza Minelli. Pupkin pretends to be a guest on the show and talks to the cutouts.
Pupkin also fantasizes about Langford needing a break from the show and asking him to fill in as host for six weeks.
Because he is delusional, Rupert Pupkin believes he shares a connection with Jerry Langford. He even goes to Jerry's house in the country with Rita, a crush from high school. His goal is to impress her. Langford unceremoniously tosses the couple out of the house.
Pupkin partners with fellow autograph hound Marsha to kidnap Jerry Langford and hold him for ransom.
Not for money, but for time.
A few minutes of air time so Rupert Pupkin can introduce himself to America as its next great comedian.
But the audience must stay in the theatre until the taped show is broadcast at 11:30 pm Eastern time. Rupert wants to make sure Rita sees his appearance. Then, he will release Jerry Langford.
The network agrees. Pupkin gets his chance at stardom and an ovation after his appearance.
But Jerry Langford escapes from Marsha anyway.
The epilogue informs us that Rupert Pupkin went to prison because of the kidnapping and wrote a best selling autobiography called King of the Night.
Currently, he is considering several offers upon his release.
Jerry Lewis gives a stellar performance as America's fictional favorite late night talk show host. No funny voices, no funny faces, no funny lines. Just pure acting. You forget that he's Jerry Lewis and you believe he's Jerry Langford. Quite a feat for a comedy icon.
Robert De Niro's performance deserves equal praise. He doesn't merely play Rupert Pupkin. He is Rupert Pupkin.
De Niro performs the stand-up routine that is the basis for the kidnapping. Indeed, it's the climax of the film.
The Jerry Langford Show is a fleshed-out talk show in the film with verisimilitude to give it realism a la The Tonight Show starring Johnny Carson.
Real life broadcaster Ed Herlihy plays himself as Langford's version of Ed McMahon.
Real life broadcaster Lou Brown plays himself as Langford's version of Doc Severinsen.
And Jerry Lewis plays Jerry Langford complete with monologue and an interview sequence on the show with Rupert Pupkin during a fantasy scene.
On the night that Pupkin performs his monologue, Tony Randall fills in as guest host.
And director Martin Scorsese has a cameo as does his mother. Scorcese plays a behind-the-scenes staffer at the Langford show. His mother plays Pupkin's mother though we only hear her voice when she tells Pupkin to keep quiet in the basement, his base of operations for rehearsing his fantasy that actually becomes reality.
He's played Mafia dons, cops, and overprotective fathers with an espionage resume.
But in this movie, Robert De Niro is the king of comedy.
david@davidkrell.com
Inevitably, the best laid plans of summer will conflict with Mother Nature. The day at the beach, the picnic, or the softball game will be postponed because of bad weather.
Perfect time to watch a movie on the flat-screen television. I suggest a dark comedy with a television setting.
In the 1981 film King of Comedy, Robert de Niro plays against type. He does a 180-degree turn from his tough-guy roles and plays Rupert Pupkin. Pupkin is a nebbishy, wannabe comedian from New Jersey who idolizes late night talk show host Jerry Langford, played by Jerry Lewis.
Pupkin meets Langford outside the stage door to the Manhattan studio where Langford tapes his show.
Essentially, Rupert Pupkin stalks Jerry Langford.
Pupkin lives with his mother and sets up the basement to look like Langford's talk show set complete with Jerry and guest Liza Minelli. Pupkin pretends to be a guest on the show and talks to the cutouts.
Pupkin also fantasizes about Langford needing a break from the show and asking him to fill in as host for six weeks.
Because he is delusional, Rupert Pupkin believes he shares a connection with Jerry Langford. He even goes to Jerry's house in the country with Rita, a crush from high school. His goal is to impress her. Langford unceremoniously tosses the couple out of the house.
Pupkin partners with fellow autograph hound Marsha to kidnap Jerry Langford and hold him for ransom.
Not for money, but for time.
A few minutes of air time so Rupert Pupkin can introduce himself to America as its next great comedian.
But the audience must stay in the theatre until the taped show is broadcast at 11:30 pm Eastern time. Rupert wants to make sure Rita sees his appearance. Then, he will release Jerry Langford.
The network agrees. Pupkin gets his chance at stardom and an ovation after his appearance.
But Jerry Langford escapes from Marsha anyway.
The epilogue informs us that Rupert Pupkin went to prison because of the kidnapping and wrote a best selling autobiography called King of the Night.
Currently, he is considering several offers upon his release.
Jerry Lewis gives a stellar performance as America's fictional favorite late night talk show host. No funny voices, no funny faces, no funny lines. Just pure acting. You forget that he's Jerry Lewis and you believe he's Jerry Langford. Quite a feat for a comedy icon.
Robert De Niro's performance deserves equal praise. He doesn't merely play Rupert Pupkin. He is Rupert Pupkin.
De Niro performs the stand-up routine that is the basis for the kidnapping. Indeed, it's the climax of the film.
The Jerry Langford Show is a fleshed-out talk show in the film with verisimilitude to give it realism a la The Tonight Show starring Johnny Carson.
Real life broadcaster Ed Herlihy plays himself as Langford's version of Ed McMahon.
Real life broadcaster Lou Brown plays himself as Langford's version of Doc Severinsen.
And Jerry Lewis plays Jerry Langford complete with monologue and an interview sequence on the show with Rupert Pupkin during a fantasy scene.
On the night that Pupkin performs his monologue, Tony Randall fills in as guest host.
And director Martin Scorsese has a cameo as does his mother. Scorcese plays a behind-the-scenes staffer at the Langford show. His mother plays Pupkin's mother though we only hear her voice when she tells Pupkin to keep quiet in the basement, his base of operations for rehearsing his fantasy that actually becomes reality.
He's played Mafia dons, cops, and overprotective fathers with an espionage resume.
But in this movie, Robert De Niro is the king of comedy.
Herman the Rookie
June 02, 2009
by David Krell
david@davidkrell.com
Baseball season prompts a look back at guest stars from the national pastime who give a little oomph to a favorite television program.
Don Drysdale on The Brady Bunch.
Henry Aaron on Happy Days.
Willie Mays on The Donna Reed Show.
In 1965, The Munsters used the baseball theme and player-turned-manager-turned-Los Angeles Dodgers executive Leo Durocher for that oomph.
The Dodgers welcomed Durocher back into the fold after he defected to the crosstown Giants when both teams played in New York City -- the Dodgers at Brooklyn's Ebbets Field and the Giants at Manhattan's Polo Grounds.
While talking with reporter Charlie Hodges, Leo the Lip gets knocked on the head by a baseball hit from several blocks away. He discovers that Herman Munster hit the ball.
Eager for a brand-new discovery, Durocher arranges a formal tryout with the Dodgers for Herman. Undoubtedly, Herman's physical strength is the tool that will propel the Dodgers to win the National League pennant and the World Series.
By literally crushing the ball out of the park, Herman could probably single-handedly win every game.
But every asset has a consequent cost or liability. In Herman's case, his asset of strength is the liability.
Wearing #37 for his tryout, Herman takes batting practice. The force of his swing causes a ground ball to literally go under ground and destroy the infield. A home run knocks over the scoreboard.
Durocher exclaims that he doesn't know whether to sign him to the Dodgers or send him to Vietnam!
Herman's dreams of big-league status will not be realized. The Dodgers won't sign him because of financial cost. Salary is not the issue. Walter O'Malley, then the Dodgers owner, would have to spend $75,000 after each game to repair Dodger Stadium.
Baseball fans will enjoy the episode because of the tryout scenes at a practice field.
The episode has a nice tag before the credits when former Los Angeles Rams player and current Rams executive Elroy "Crazylegs" Hirsch discovers a football kicked from several blocks away, much farther than the length of a football field.
Upon advice from Hodges, Hirsch forgets about identifying the kicker and signing him to the Rams.
Leo Durocher also made a guest appearance on The Beverly Hillbillies where he tried to learn more about Jethro Clampett's pitching prowess. What a combination! Jethro's ability to make the ball dance in the air from the pitching mound and Herman's ability to crush the ball over the fence.
Only in television land.
david@davidkrell.com
Baseball season prompts a look back at guest stars from the national pastime who give a little oomph to a favorite television program.
Don Drysdale on The Brady Bunch.
Henry Aaron on Happy Days.
Willie Mays on The Donna Reed Show.
In 1965, The Munsters used the baseball theme and player-turned-manager-turned-Los Angeles Dodgers executive Leo Durocher for that oomph.
The Dodgers welcomed Durocher back into the fold after he defected to the crosstown Giants when both teams played in New York City -- the Dodgers at Brooklyn's Ebbets Field and the Giants at Manhattan's Polo Grounds.
While talking with reporter Charlie Hodges, Leo the Lip gets knocked on the head by a baseball hit from several blocks away. He discovers that Herman Munster hit the ball.
Eager for a brand-new discovery, Durocher arranges a formal tryout with the Dodgers for Herman. Undoubtedly, Herman's physical strength is the tool that will propel the Dodgers to win the National League pennant and the World Series.
By literally crushing the ball out of the park, Herman could probably single-handedly win every game.
But every asset has a consequent cost or liability. In Herman's case, his asset of strength is the liability.
Wearing #37 for his tryout, Herman takes batting practice. The force of his swing causes a ground ball to literally go under ground and destroy the infield. A home run knocks over the scoreboard.
Durocher exclaims that he doesn't know whether to sign him to the Dodgers or send him to Vietnam!
Herman's dreams of big-league status will not be realized. The Dodgers won't sign him because of financial cost. Salary is not the issue. Walter O'Malley, then the Dodgers owner, would have to spend $75,000 after each game to repair Dodger Stadium.
Baseball fans will enjoy the episode because of the tryout scenes at a practice field.
The episode has a nice tag before the credits when former Los Angeles Rams player and current Rams executive Elroy "Crazylegs" Hirsch discovers a football kicked from several blocks away, much farther than the length of a football field.
Upon advice from Hodges, Hirsch forgets about identifying the kicker and signing him to the Rams.
Leo Durocher also made a guest appearance on The Beverly Hillbillies where he tried to learn more about Jethro Clampett's pitching prowess. What a combination! Jethro's ability to make the ball dance in the air from the pitching mound and Herman's ability to crush the ball over the fence.
Only in television land.