TV postsSaturday September 08, 2018
Bill Daily (1927-2018)
Most obit headlines mention “I Dream of Jeannie,” but I‘ll always think of him as Howard Borden, the neighbor of the Hartleys on “The Bob Newhart Show,” who did the pop-in at least once an episode. “Hey Bob, Hey Emily, what’s for supper?” He was one of my favorites on that show—the quintessential, classic, sitcom neighbor. In his case, daft sweetheart version.
Here's Bob Newhart's tribute.
Bill Daily & I go back to Chicago in the 50‘s. He and I were both trying to get into standup. Later, he joined the Bob Newhart Show. He was our bullpen guy - you could always go to him. He was one of the most positive people I’ve ever known. I will miss him dearly— Bob Newhart (@BobNewhart) September 8, 2018
Here's the bit I most remember. Howard was a bachelor, or had just become one, and he was ironing a shirt. Was it for the first time? I forget. I don't really remember the why, just the what. He had the shirt all laid out on the ironing board just so, and he picked up the iron. Wetting his finger, and almost cringing in anticipation, he tested it to see if it was hot enough. Then he tested it again, more slowly. Then again. He let his fingertip stay on the iron, then pressed his entire palm against it. Then, deadpan, he pressed the iron against his cheek.
Somewhere back there in the 1970s, on a Saturday night in a basement in south Minneapolis, my older brother and I are laughing our asses off.
The Audience is a Child
Optimus Prime in “Transformers 2.” Plot sold separately.
“The audience is a child. If you ask the audience what they want, they‘ll want dessert. They’ll say they want ice cream. They‘ll want cake. You ask them what they want the next minute, they’ll say more ice cream, more cake. You show them that they like something else. ‘You like fried chicken? Here, taste my fried chicken.’ Then the next ten things they order will be the fried chicken. ‘You like Omar?’ ‘Yeah, I love Omar. Give me more of Omar.’ No, I want to tell you a story, and the characters are going to do what they‘re supposed to do in the story, and that’s the job of the writer. That's the writer's job. That's the storyteller's job. You don't write for anybody but the story, for yourself and for your idea of what the story is. The moment you start thinking about the audience and the audience's expectation, you‘re lost. You’re just lost.”
David Simon, creator of “The Wire,” in the oral history “All the Pieces Matter: The Inside Story of The Wire,” by Jonathan Abrams.
TV Shows Nominated Best Drama Over ‘The Wire’
“Pawns, man, in the game, they get capped quick.”
I think everyone knows “The Wire” never won an Emmy but what's surprising is the few number of times it was even nominated. Just twice, and both for scripts: Outstanding Writing in a Drama Series for the third season episode “Middle Ground” (the one where Stringer dies), and for the fifth season episode “—30—” (the last episode of the series).
Here, by the way, are the shows that were nominated for best drama during “The Wire”'s run:
|The West Wing||3||1|
|CSI: Crime Scene Invesgitation||2|
|Six Feet Under||2|
|Joan of Arcadia||1|
Great shows, good shows, a few head-scratchers. Almost all are mostly white shows.
I'm reading Jonathan Abrams' oral history on the series, “All the Pieces Matter: The Inside Story of The Wire.” Halfway through he quotes Lance Reddick, who played Lt. Daniels, and who recognized early on how special the show was. According to Abrams, Reddick is still upset about the lack of awards. “I'll be pissed off about it until the day I die,” he says.
‘How to Pick Up Girls’ by Dominic West
“He has that kind of personality where he can say things and you just go, ‘How did you get away with that?’ I once stood behind him on an elevator—this was back in the early days, before he was married. We had a beautiful day player in the scene, and she was only there for the day, then she was taking the train back to New York. It was a crowded elevator, and he's only got this moment. ... You know what his pickup line was? She turned toward him and she said, ‘You know, I just broke up with my boyfriend.’ And he looked at her and went, ‘Really?’
”Later on, when she missed her train back to New York, I was like, ‘That’s all you needed? “Really?”' I think for the next two years I just kept going up to him whenever he was talking bullshit, ‘Really?’ That was my code for ‘Fuck you.’"
— David Simon, “All the Pieces Matter: The Inside Story of The Wire,” by Jonathan Abrams. Cf., Mike Nichols on Robert Redford.
Quote of the Day
“Season Two, I knew I wanted to go to the death of work. Because where do these drug corners come from? They come from deindustrialization. Our economy no longer needs mass employment. The only factory in town that's still hiring and is always hiring are the corners.”
David Simon, “All the Pieces Matter: The Inside Story of The Wire,” by Jonathan Abrams