The world of television is now one
great genius smaller. A man who was a creative force in TV for more than thirty
years has left us too soon, as this Sunday, Steven Bochco, a pillar of TV's
Second Golden Age, passed away at the age of 74.
Considering where television has
been, particularly in the last fifteen years, it is hard to imagine what it was
like before Bochco. There had been some bright lights in the TV world before,
but when he created Hill Street Blues in
1980, he completed reinvented what the police drama could be, and what it was.
With serialized storylines that could stretch on for half a season, some of the
most memorable characters in the history of the medium (who will ever forget
Frank Furillo, Mack Belker or Howard Hunter?), and some truly incredible
talent, Bochco revolutionized the police procedural, and made it dirtier. The
23 Emmy nominations and 8 wins it got in its inaugural season were records that
would stand for quite some time - many of which would be broken by Bochco's
other series. Hill
Street 's
win would be the first of four consecutive Best Drama awards the show would
win, and the first of nine Emmys Bochco would receive for producing.
A few years later, Bochco helped
created L.A. Law, a series which
would do for the legal drama what Hill
Street Blue did for the police procedural. Set in a completely different
world than Hill
Street ,
L A Law was one of the most timely and relevant series that had ever emerged. Possessed with some of
the most photogenic actors in the medium, the series would launch the careers
of Harry Hamlin, Jimmy Smits, Corbin Bernsen, Blair Underwood, would revitalize
the career of Partridge Family actress
Susan Dey, and introduce such great character actors as Alan Rachins, Larry
Drake, and John Spencer to a wide spread audience. It was extremely engaging,
and some of the most memorable storyline in the history of TV (very few viewers
can forget the fate of Rosalind Shays), and would be nearly as prodigious a
winner at the Emmys as Hill Street was,
winning Best Drama four times in its first five years on the air.
But the series that probably
lingers the most in this generation's mind when it comes to Bochco is NYPD Blue. A lightning bolt to the world of television,
when it debuted on ABC in 1993, mainly because of how addressed language and
nudity in ways that network television hadn't even considered back then. Never
doing quite as well in the Emmys as it should, it launched the careers of David
Caruso, Amy Brenneman, Sharon Lawrence, and Kim Delaney, and would later play a
vital role in reenergizing the careers of Ricky Schroeder and Mark-Paul
Gosellaar from their world as child stars. I never cared for A lightning bolt to the world of television,
when it debuted on ABC in 1993, mainly because of how addressed language and
nudity in ways that network television hadn't even considered back then. Never
doing quite as well in the Emmys as it should, it launched the careers of David
Caruso, Dennis Franz, Amy Brenneman, Sharon Lawrence, and Kim Delaney, and
would later play a vital role in reenergizing the careers of Ricky Schroeder
and Mark-Paul Gosellaar from their world as child stars. I never cared for Blue as much as Homicide (or for that matter, Law
and Order), but I can't ignore the fact that many of the better series to
come out of the new golden age wouldn't be possible without Blue.
Perhaps even more important than
Bochco's considerable work as a producer-writer was his ability to find fellow
travelers. He would eventually leave Hill Street and NYPD
Blue, in the able hands of David Milch, and L A Law would eventually become the property of David E. Kelley.
It's no exaggeration without Bochco we wouldn't have gotten Deadwood, Picket Fences, The Practice, and
Ally McBeal, and those were just
Milch's and Kelley's contributions to the TV landscape.
Even Bochco's failures (and he had
so many that eventually other comedy shows would satirize them) had a level of
effort absent from far too many network shows of today. Cop Rock is basically considered a complete failure, but
considering that other series have tried musical-based episodes in the past,
one would could argue foresight there. And Murder
One, a 1995-1997 series that dared to try to follow a single storyline - in
this case, a murder trial from crime to final verdict, was radical daring, even
if it did come up short, and probably paved the way for series like 24.
Like so many writers who had trouble
later in their careers, Bochco turned to cable. His last series, Murder in the First for TNT , was an intriguing mix of the police and
the legal dramas he had once mastered. Following a single case, involving the
same set of detectives and prosecutors, it had a bit more polish to it than so
many of the TNT dramas that existed then. It
seemed something of a shame when it was canceled two years ago.
Bochco has not been nearly as
successful in this century than he was in the last, but it seems pretty clear
that, without him, not only would we not have much of a Second Golden Age of
television, the current one might not shine nearly as brightly. His influence
was going to linger far longer than he was, but for him to pass away before he
had turned 75 was a great loss that will truly be missed. So as a final salute
to the man, I will quote his creation Phil Esterhaus (played by another actor
who, like Bochco, was taken from us much too soon) and say Steven, "Let's
be careful out there."
No comments:
Post a Comment