The Cosby Show
The Last Great Ride
December 07, 2009
by David Krell
david@davidkrell.com
Brandon Tartikoff saw the best of times and the worst of times during his reign as NBC’s uberprogrammer.
The best of times -- Hill Street Blues, L.A. Law, Night Court, Cheers, The Cosby Show, St. Elsewhere, Family Ties, Miami Vice, Crime Story, Hunter, Late Night with David Letterman.
The worst of times -- Manimal, Misfits of Science, Supertrain, Lewis & Clark, Hull High, Pink Lady, Gavilan, Nightingales, The Nutt House, Partners in Crime.
Tartikoff was a rare television executive in that the general public knew his name. He was a guest host on Saturday Night Live. He appeared as himself in an episode of Night Court.
Tartikoff passed away in 1997. Fortunately, he recorded his life story in his 1992 autobiography, The Last Great Ride with Charles Leerhsen.
Tartikoff explains the television business as if he was talking to you informally at the kitchen table, the corner bar, or the airport terminal. And he’s fiercely honest about the realities of ratings, missed opportunities, and severe pressure in television’s executive suites.
The Last Great Ride unveils terrific television stories through the eyes of a baby boomer who possessed extraordinary passion, talent, and drive.
Tartikoff tells the details of how NBC cast Michael J. Fox instead of Matthew Broderick for the role of Alex P. Keaton in Family Ties, how William Devane lost the role of Sam Malone during his audition for Cheers, and how The Cosby Show helped rebuild NBC.
We also learn the turning points in Tartikoff’s career and personal life, including his battle with Hodgkins Disease. Ultimately, he lost the battle. But his constant strive to win under pressure in his personal life matched the same desire in his professional life.
Consequently, NBC’s peacock rose like a phoenix with newfound success in the 1980’s.
Indeed, when Brandon Tartikoff was at the helm, NBC’s shows, stations, and viewers enjoyed a great ride.
david@davidkrell.com
Brandon Tartikoff saw the best of times and the worst of times during his reign as NBC’s uberprogrammer.
The best of times -- Hill Street Blues, L.A. Law, Night Court, Cheers, The Cosby Show, St. Elsewhere, Family Ties, Miami Vice, Crime Story, Hunter, Late Night with David Letterman.
The worst of times -- Manimal, Misfits of Science, Supertrain, Lewis & Clark, Hull High, Pink Lady, Gavilan, Nightingales, The Nutt House, Partners in Crime.
Tartikoff was a rare television executive in that the general public knew his name. He was a guest host on Saturday Night Live. He appeared as himself in an episode of Night Court.
Tartikoff passed away in 1997. Fortunately, he recorded his life story in his 1992 autobiography, The Last Great Ride with Charles Leerhsen.
Tartikoff explains the television business as if he was talking to you informally at the kitchen table, the corner bar, or the airport terminal. And he’s fiercely honest about the realities of ratings, missed opportunities, and severe pressure in television’s executive suites.
The Last Great Ride unveils terrific television stories through the eyes of a baby boomer who possessed extraordinary passion, talent, and drive.
Tartikoff tells the details of how NBC cast Michael J. Fox instead of Matthew Broderick for the role of Alex P. Keaton in Family Ties, how William Devane lost the role of Sam Malone during his audition for Cheers, and how The Cosby Show helped rebuild NBC.
We also learn the turning points in Tartikoff’s career and personal life, including his battle with Hodgkins Disease. Ultimately, he lost the battle. But his constant strive to win under pressure in his personal life matched the same desire in his professional life.
Consequently, NBC’s peacock rose like a phoenix with newfound success in the 1980’s.
Indeed, when Brandon Tartikoff was at the helm, NBC’s shows, stations, and viewers enjoyed a great ride.
The Ultimate TV Network
July 21, 2009
by David Krell
david@davidkrell.com
If I created the ultimate television network, the prime time program lineup would probably look like this:
On Sunday, I would start with the legends. I Love Lucy at 8:00pm followed by The Jack Benny Program at 8:30pm.
The pairing makes sense since Lucille Ball and Jack Benny were not only show business icons, but also neighbors in real life. They lived next door to each other on North Roxbury Drive in Beverly Hills.
Then, we turn to the rural heavyweights. The Andy Griffith Show at 9:00pm and The Beverly Hillbillies at 9:30pm.
Sunday nights should be nice and easy, after all. And what's nicer and easier than our friends in Mayberry and the hillbilly transplants to the land of Rodeo Drive?
At 10:00pm, The Sopranos.
On Monday nights, I would pair The Dick Van Dyke Show and Mary Tyler Moore in the 8 o'clock hour, followed by M*A*S*H and Murphy Brown in the 9 o'clock hour.
At 10:00pm, St. Elsewhere.
Tuesday nights would start with family comedy. The Cosby Show and Family Ties 8:00pm and 8:30pm respectively.
Everybody Loves Raymond at 9:00pm and Two and a Half Men at 9:30pm.
At 10:00pm, Law & Order.
Wednesday nights would start with sophistication.
Frasier at 8:00pm and The Odd Couple at 8:30pm. I'm sure Felix Unger would have enjoyed talking wine, opera, and art with the Crane brothers.
The 9 o'clock hour would consist of You'll Never Get Rich starring Phil Silvers as Sergeant Bilko and The Twilight Zone.
At 10:00pm, Hill Street Blues.
Of course, Thursday nights would truly be Must See TV with Cheers, Taxi, Seinfeld, and Friends followed by ER at 10:00pm.
Friday night would be another family-friendly night, starting with The Brady Bunch at 8:00pm and The Wonder Years at 8:30pm.
At 9:00pm, Friday Night Lights, a depiction of a west Texas town obsessed with high school football.
At 10:00pm, The Wire.
Saturday night begins with cartoons.
The Simpsons at 8:00pm and King of the Hill at 8:30pm.
The Honeymooners at 9:00pm and Curb Your Enthusiasm at 9:30pm.
At 10:00pm, Homicide: Life on the Street, an undervalued, underrated, and underwatched program during its tenure on NBC in the 1990's.
Reasonable minds can differ.
Should Happy Days be in the lineup instead of The Brady Bunch?
What about L.A. Law, thirtysomething, Scrubs, or All in the Family?
What's the standard for making the linuep?
All good questions.
For now, it's merely instinctive.
Programs can be replaced.
Or I can start another network.
david@davidkrell.com
If I created the ultimate television network, the prime time program lineup would probably look like this:
On Sunday, I would start with the legends. I Love Lucy at 8:00pm followed by The Jack Benny Program at 8:30pm.
The pairing makes sense since Lucille Ball and Jack Benny were not only show business icons, but also neighbors in real life. They lived next door to each other on North Roxbury Drive in Beverly Hills.
Then, we turn to the rural heavyweights. The Andy Griffith Show at 9:00pm and The Beverly Hillbillies at 9:30pm.
Sunday nights should be nice and easy, after all. And what's nicer and easier than our friends in Mayberry and the hillbilly transplants to the land of Rodeo Drive?
At 10:00pm, The Sopranos.
On Monday nights, I would pair The Dick Van Dyke Show and Mary Tyler Moore in the 8 o'clock hour, followed by M*A*S*H and Murphy Brown in the 9 o'clock hour.
At 10:00pm, St. Elsewhere.
Tuesday nights would start with family comedy. The Cosby Show and Family Ties 8:00pm and 8:30pm respectively.
Everybody Loves Raymond at 9:00pm and Two and a Half Men at 9:30pm.
At 10:00pm, Law & Order.
Wednesday nights would start with sophistication.
Frasier at 8:00pm and The Odd Couple at 8:30pm. I'm sure Felix Unger would have enjoyed talking wine, opera, and art with the Crane brothers.
The 9 o'clock hour would consist of You'll Never Get Rich starring Phil Silvers as Sergeant Bilko and The Twilight Zone.
At 10:00pm, Hill Street Blues.
Of course, Thursday nights would truly be Must See TV with Cheers, Taxi, Seinfeld, and Friends followed by ER at 10:00pm.
Friday night would be another family-friendly night, starting with The Brady Bunch at 8:00pm and The Wonder Years at 8:30pm.
At 9:00pm, Friday Night Lights, a depiction of a west Texas town obsessed with high school football.
At 10:00pm, The Wire.
Saturday night begins with cartoons.
The Simpsons at 8:00pm and King of the Hill at 8:30pm.
The Honeymooners at 9:00pm and Curb Your Enthusiasm at 9:30pm.
At 10:00pm, Homicide: Life on the Street, an undervalued, underrated, and underwatched program during its tenure on NBC in the 1990's.
Reasonable minds can differ.
Should Happy Days be in the lineup instead of The Brady Bunch?
What about L.A. Law, thirtysomething, Scrubs, or All in the Family?
What's the standard for making the linuep?
All good questions.
For now, it's merely instinctive.
Programs can be replaced.
Or I can start another network.
The Simpsons
April 11, 2009
by David Krell
david@davidkrell.com
The Simpsons began as cartoon shorts on The Tracey Ullman Show in 1987.
Different. Irreverent. Entertaining.
FOX expanded The Simpsons to a half-hour show in 1989.
The Simpsons got so popular that FOX moved America’s favorite dysfunctional family from Sunday to Thursday in 1990.
The rationale for the move: to take on America’s favorite upper middle class family, The Huxtables on The Cosby Show.
In the first episode of the 1990-91 season, Bill Cosby showed true class as Cliff Huxtable. When the Huxtables’ youngest daughter Rudy comes into the room wearing a Bart Simpson mask, Cliff chases her out. It was a tip of the hat to the competition.
Eventually, FOX moved The Simpsons back to Sunday night where it anchors the Sunday lineup.
The Simpsons rivals Saturday Night Live in the area of guest stars. Even just a sample is literally a Who’s Who!
Michelle Pfeiffer, Dustin Hoffman, Meryl Streep, Kirk Douglas, Donald Sutherland, Albert Brooks, Rodney Dangerfield, Martin Sheen, Danny DeVito, Jay Leno, Joe Namath, Alec Baldwin, Kim Basinger, Ron Howard, Jon Lovitz, and, of course, FOX chieftain Rupert Murdoch are just a few examples of the star power on The Simpsons.
Although it is definitely unique, The Simpsons recalls familiar situations.
First, Homer’s get-rich-quick schemes remind us of Ralph Kramden’s and Fred Flintstone’s varied, interesting, and unsuccessful attempts to become instantly wealthy. Must be something about overweight men and faulty financial plans.
Second, Mr. Burns’ management style reminds us of Spacely Sprockets boss Mr. Spacely. Mr. Burns teases, tempts, and lures Homer to work on projects that can only benefit Mr. Burns and potentially hurt Homer.
By comparison, Mr. Spacely offered the “Vice President” job to George Jetson just about every week if George did something for Spacely.
Third, the storylines rely on, poke fun at, and offer new takes on iconic popular culture.
Krusty the Clown’s back story used several elements of The Jazz Singer.
Homer is kidnapped and banished to an island similar to the island on the 1960’s classic, The Prisoner.
And, of course, the episode Who Shot Mr. Burns? paralleled the greatest television mystery of all time -- the 1980 whodunit plot, Who Shot J.R.? on Dallas!
But the uniqueness of The Simpsons shown like a beacon.
First, The Simpsons was the first prime time cartoon program in almost a quarter-century.
Second, The Simpsons flipped the sensibilities of prime time.
Authority figures were lazy, stupid, or foolish.
Wise cracking kids were championed, not lampooned.
Family values were mocked.
Even the first President Bush acknowledged the show’s impact when he said he wanted America to be more like the Waltons and less like the Simpsons.
Third, The Simpsons was on FOX, a new network that could take a chance with offbeat, irreverent, and potentially groundbreaking programs.
But somewhere along the line, The Simpsons gained sensitivity, warmth, and even a religious aspect.
In the episode Alone Again, Natura-Diddly, Springfield mourns the loss of Maude Flanders. And without his wife, Ned Flanders sees some cracks in his bedrock of religious faith.
He questions God about the wisdom of taking Maude from her family and then stays in bed to avoid his favorite weekly activity – Sunday church service.
But his faith isn’t shaken for long. Ned speeds to the church and gets there just in time to hear a Christian rock singer belt out a tune about finding her faith in God after some rough times.
It’s enough to capture Ned’s attention.
After the service, he tells her about his recent rough times. When she asks Ned if he’d like to grab a cup of coffee, she senses his uneasiness. But she leaves the door open for when she returns from the Monsters of Christian Rock tour.
Ned’s good cheer returns in full when he declares, Maybe we can. My name’s Ned Flanders and I’m here every week, rain or shine!
david@davidkrell.com
The Simpsons began as cartoon shorts on The Tracey Ullman Show in 1987.
Different. Irreverent. Entertaining.
FOX expanded The Simpsons to a half-hour show in 1989.
The Simpsons got so popular that FOX moved America’s favorite dysfunctional family from Sunday to Thursday in 1990.
The rationale for the move: to take on America’s favorite upper middle class family, The Huxtables on The Cosby Show.
In the first episode of the 1990-91 season, Bill Cosby showed true class as Cliff Huxtable. When the Huxtables’ youngest daughter Rudy comes into the room wearing a Bart Simpson mask, Cliff chases her out. It was a tip of the hat to the competition.
Eventually, FOX moved The Simpsons back to Sunday night where it anchors the Sunday lineup.
The Simpsons rivals Saturday Night Live in the area of guest stars. Even just a sample is literally a Who’s Who!
Michelle Pfeiffer, Dustin Hoffman, Meryl Streep, Kirk Douglas, Donald Sutherland, Albert Brooks, Rodney Dangerfield, Martin Sheen, Danny DeVito, Jay Leno, Joe Namath, Alec Baldwin, Kim Basinger, Ron Howard, Jon Lovitz, and, of course, FOX chieftain Rupert Murdoch are just a few examples of the star power on The Simpsons.
Although it is definitely unique, The Simpsons recalls familiar situations.
First, Homer’s get-rich-quick schemes remind us of Ralph Kramden’s and Fred Flintstone’s varied, interesting, and unsuccessful attempts to become instantly wealthy. Must be something about overweight men and faulty financial plans.
Second, Mr. Burns’ management style reminds us of Spacely Sprockets boss Mr. Spacely. Mr. Burns teases, tempts, and lures Homer to work on projects that can only benefit Mr. Burns and potentially hurt Homer.
By comparison, Mr. Spacely offered the “Vice President” job to George Jetson just about every week if George did something for Spacely.
Third, the storylines rely on, poke fun at, and offer new takes on iconic popular culture.
Krusty the Clown’s back story used several elements of The Jazz Singer.
Homer is kidnapped and banished to an island similar to the island on the 1960’s classic, The Prisoner.
And, of course, the episode Who Shot Mr. Burns? paralleled the greatest television mystery of all time -- the 1980 whodunit plot, Who Shot J.R.? on Dallas!
But the uniqueness of The Simpsons shown like a beacon.
First, The Simpsons was the first prime time cartoon program in almost a quarter-century.
Second, The Simpsons flipped the sensibilities of prime time.
Authority figures were lazy, stupid, or foolish.
Wise cracking kids were championed, not lampooned.
Family values were mocked.
Even the first President Bush acknowledged the show’s impact when he said he wanted America to be more like the Waltons and less like the Simpsons.
Third, The Simpsons was on FOX, a new network that could take a chance with offbeat, irreverent, and potentially groundbreaking programs.
But somewhere along the line, The Simpsons gained sensitivity, warmth, and even a religious aspect.
In the episode Alone Again, Natura-Diddly, Springfield mourns the loss of Maude Flanders. And without his wife, Ned Flanders sees some cracks in his bedrock of religious faith.
He questions God about the wisdom of taking Maude from her family and then stays in bed to avoid his favorite weekly activity – Sunday church service.
But his faith isn’t shaken for long. Ned speeds to the church and gets there just in time to hear a Christian rock singer belt out a tune about finding her faith in God after some rough times.
It’s enough to capture Ned’s attention.
After the service, he tells her about his recent rough times. When she asks Ned if he’d like to grab a cup of coffee, she senses his uneasiness. But she leaves the door open for when she returns from the Monsters of Christian Rock tour.
Ned’s good cheer returns in full when he declares, Maybe we can. My name’s Ned Flanders and I’m here every week, rain or shine!