Friday, September 20, 2024

A Refresher As The New Seasonof Jeopardy Begins

 

First things first. For those of you who might not necessarily read my columns on the Emmys Jeopardy won the Emmy for Outstanding Game Show this past September.

Those who are cynical both about the relevance of the Emmys and of Season 40 overall might say that this is more proof that the Emmys are meaningless. I’m willing to concede that its victory may be more due to the fact of a habit the Emmys has for, well, almost every other major award: win one year and you will keep winning over and over no matter how much you decline in quality. That’s pretty much the Emmys history during my entire lifetime and its only until fairly recently that it seems to be breaking these habits – gradually.  The only reason it won this year may very well have been that it won last year.

Still we have to argue that there might be something to it: after all for the second consecutive year Ken Jennings lost Outstanding Game Show Host, this time to Pat Sajak. And considering that many might think the misclassification of Jeopardy in the daytime Emmys instead of the official ones has cost it dozens of awards over the last forty years, I’d say some restitution is in order. Anyway let’s move on to the new season.

Season 41 of Jeopardy has been underway for two weeks. So far it’s clear the writers are back in full fettle: the clues have been far tougher than usual, certainly for me at home and the Final Jeopardys far more difficult. (It took me until the fourth game of the season to get one correctly; the contestants themselves have yet to manage to all answer Final Jeopardy correct.)

Things have changed immensely from last season and indeed the first three full ones in the post-Trebek era. Some of those changes are no doubt in answer to the reaction of the fans after the ‘endless postseason’ that demolished most of Season 40. Others are less promising.

To the relief of untold millions this season has not started with the postseason. I think we can all say an ‘I told you so’ to the producers for thinking that they could control outside events to the point of how the show would work.

Now the bad news. The postseason will still be taking place this year but the official start time will be in early 2025. The Second Chance and Champions Wildcard will lead it off though the producers have promised the fans it will not take nearly as much time as last year. That was a given considering how much of it was due to the work stoppage to begin with but for better or worse, we still seem stuck with it at least for Season 41.

I remain fundamentally opposed to even the principle of the Second Chance Tournament. However, I’m willing to have some wiggle room on Wild Card. The reason is historical. Victoria Groce, who came out of Jeopardy obscurity to win first the Jeopardy Invitational and then the 2024 Jeopardy Masters would have met the qualifications for a Wild Card spot in her original appearance. Considering that the game she won was to defeat David Madden, whose 19 games were the second place total after Ken Jennings for nearly a decade, one could have seen her being invited back had the Wild Card tournament existed. And having seen her play so exceptionally against so many of the greatest players in Jeopardy history – include two Tournament of Champions winners and two previous Jeopardy Masters just to earn her spot – I may very well have to rethink the idea of the Wild Card the same way Ike Barnholtz’s performance in the previous Tournament of Champions has made me rethink Celebrity Jeopardy.

As for the postseason this year it will include only the four tournaments we had this past year. However since it will include both the Tournament of Champions and the Jeopardy Invitational Tournament I’m not complaining. Not yet anyway. And it does seem that both the 27 champion bracket is going to be the standard for the foreseeable future, which as I said I was fine with. And though I know there’s no correlation between that and my suggestion of it, they seem to be following each other very close to the next Masters.

With that in mind here’s a refresher course on everyone who has qualified for the Tournament of Champions. And for the record I’m also going to include everyone who won 3 games during the past season. Considering that in order to fill out the bracket Jeopardy invited them this past March – and since we saw firsthand how brilliant three-game winners can be – I think its worth a look. I will go chronologically.

Lucas Partridge – 3 wins, $66,200

Lucas was the first returning champion after the endless postseason. I would think they owe him more than anybody since he had to wait nearly a year between his last appearance at the end of Season 39 and his next one.

Alison Betts – 5 wins, $121,500

Alison was the first female champion since Hannah Wilson won eight games in May of 2023.

Amy Hummel – 5 Games $100,994

 

Weckiai Rannila  - 3 Games, $35,200

It’s possible Weckiai may end up being invited back as a Wildcard contest, given the rather small total she won. However I’m comfortable in believing she’ll back in some form.

 

Allison Gross – 3 Wins, $44,598

Same standard as Weckiai.

 

Will Stewart – 3 wins, $70,501

Will I feel more comfortable thinking he’ll get an invitation; as you’ll see, he actually won more money in three games than a few more people did in four.

 

Grant DeYoung – 4 wins, $81,203

 

Amar Kakirde, 4 wins, $55,899

 

Adriana Harmeyer – 15 wins, $349,600

Given how much work she needed to win many of her games there will be some legitimate Second Chance competitors playing from her time on Jeopardy.

 

Drew Basile -  7 wins, $129,601

Josh Hait, who only lost to Drew in a tiebreaker will certainly be invited back as a Second Chance competitor. Given the closeness of so many of Drew’s victories quite a few others will come as well.

 

Isaac Hirsch – 9 wins, $215,390

A lot of Isaac’s wins were tough ones so there will be many Second Chance winners.

Jay Fisher -  3 Games, $28,200

He will qualify as a Wild Card if for no other reason than he defeated Isaac.

 

Neilesh Vinjamuri – 3 Games, $53,099

Considering he won nearly as much as Amar did in four games, I think he gets in without having to go through the rigmarole of playing the Wild Card that some of the other players I’ve listed will.

 

While I don’t want to try and predict Wild Card participants if we follow the (admittedly loose) ones of the previous year then sure things include:

Marko Saric (Defeated Alison Betts)

 

Abby Mann (defeated Amar Kakirde, lost to Adriana Harmeyer)

 

Chris D’Amico (Defeated Grant De Young Before Losing to Amar Kakirde)

 

Cat Piscano (Defeated Drew Basile)

 

Beyond that I know better than to speculate.

So even before Season 41 is truly underway, we have eleven spots for the 27 needed to fill out the 2025 Tournament of Champions. The eleventh is the winner of the 2024 Celebrity Jeopardy Tournament Lisa Ann Walter and given how well Ike Barnholtz performance against far more formidable competition, I won’t make the same mistake in selling her short. There are also several borderline qualifiers who will definitely be up in the Wild Cards and no doubt several more that I didn’t list because, well, I’ll save that for when were actually there.

It's already a solid field, definitely more balanced then the one we had for the previous two Tournaments of Champions. And it does help that, compared to last time around when only one female competitor managed to qualify for the Tournament of Champions before the nightmare of the postseason began that we already have four quite formidable female champions. How they’ll do remains to be seen but we won’t have any of the frequently silly arguments we had at the end of Season 39 wondering how we could have a Tournament of Champions with only a single female participant.

As you all know I’ll revisit the show as the season progresses. Expect to hear from me either at the end of September or when someone qualifies  for the Tournament of Champion, whichever comes first.

Thursday, September 19, 2024

Gary Hart's Electoral Failures Are Not Americas: Part 1 - 1972 and The Disastrous McGovern Campaign

 

 

Two years ago in one of my first articles on presidential politics I made it very clear that I fundamentally believe that Gary Hart’s campaign implosion due to the Monkey Business Scandal involving Donna Rice was not a failure of the system or destroyed the way politics works but a personal failure of Gary Hart that he and a large number of smart people have somehow compounded to show as institutional failure at every level.

In many ways that is Hart’s legacy. It has nothing to do with his actual political accomplishments which by any reasonable standard was underwhelming and disastrous. He was one the architects of George McGovern’s successful campaign for the Democratic nomination for President in 1972 that ended up being the biggest electoral disaster for the Democratic Party in history to that point. Hart managed to win a seat in the Senate, representing Colorado in 1974. He was labeled a rising star in the party, had a role in the Church Committee and examined Three Mile Island. Narrowly winning reelection in the Reagan landslide of 1980 his most prominent legislation in Congress was the co-sponsorship of the Semiconductor Chip Protection Act of 1984. This new category of intellectual property rights was groundbreaking and earned his respect even from Republicans. He chose not to run for reelection to the Senate in 1986, choosing to run for the 1988 Democratic nomination.

His challenge for the 1984 Democratic nomination caused him to rise like a meteor and though he ran a strong campaign Walter Mondale won the nomination for President. After his loss he attempt to run for President and after the Monkey Business scandal, he chose to withdraw from the race – and then rejoin it. After a disastrous performance in Iowa, his political life ended.

This is not the kind of political life so many of Hart’s contemporaries in the Senate such as Frank Church and Henry Jackson managed nor did he break ground the way that Jesse Jackson did in the same primary campaigns Hart was a part of. Yet Hart has a special place in the hearts of Americans because he seems, perhaps more than any political figure who doesn’t have the last name Kennedy,  a sign of what America lost when he failed politically.

But there’s an argument that Hart got infinitely more bites at the apple and got more success than so many other Presidential candidates during this period, including his mentor George McGovern. Leading up to his run for the Presidency, he was actually bragging about it when it came to why he was not liked by the media or so many other politicians. “I’m the only guy who bucked the system twice and won,” he told one reporter, referring to his managing of McGovern’s campaign and his 1984 primary campaign.

But what did he actually win in those previous campaigns? Why did he believe that same method would earn him the Presidency in 1988 when both previous attempts and failed? Why didn’t he learn the lessons that were already crystal clear before he announced for the nomination back in 1987? And why do so many people truly think that somehow his failures – which he brought upon his own head – are somehow democracy and American politics?

What I will do in this series is look at the three campaigns Gary Hart was a part of: as McGovern’s campaign manager in 1972, his failed run for the nomination in 1984 and how the problems that were part of his approach to politics almost certainly guaranteed that he would have faced electoral disaster even had the Monkey Business incident not become the mess it was. And I’ll start by describing the McGovern primary campaign as well as the failures in the election. I should mention that Hart’s role in this was more negligible: as campaign director his job was focusing more on the caucus states then the primaries. But considering that he was central to it – and that so much of its failures were responsible for Democratic campaigns for a generation – one needs to look at it with care.

I should give credit to Hart for his work on this part of the campaign. Four years later Jimmy Carter’s spending a year in Iowa to focus on his long-shot run for the Presidency led to Iowa taking the forefront in Presidential Politics ever since. Lost to history is the fact that a full four years before this Gary Hart had been at the forefront of the work in Iowa working for McGovern.

This has been forgotten by history for understandable reasons, not the least of which McGovern didn’t do nearly as well as Carter did. In the caucuses McGovern finished with 22 percent of the vote to Edmund Muskie’s 35 percent. (No one else got more than one percent of the vote; the official winner was undecided.)  McGovern finished third behind Edmund Muskie and Mayor John Lindsay in Arizona. However Hart’s work did play off in states such as Idaho, Vermont and Nevada.

Understandably far more attention was paid to McGovern’s remarkable second place finish in New Hampshire. Muskie’s disappointing ‘win’ led to the beginning of the fall of his campaign and the focus of the McGovern campaign’s approach to the primaries. It is there that I shall focus because the primary campaign that followed is one that would be foreign to any American 40 and under.

(Note: I covered some of this material in entries in my previous articles on Hubert Humphrey and George Wallace last year. While I shall do my best to avoid repetition due to nature of primary campaigns some information will be covered again.)

McGovern’s strategy to win the Democratic nomination was a long shot. He had announced his campaign in March of 1971 and was almost immediately dismissed. The early favorite was Edmund Muskie, Humphrey’s running mate in 1968 and a strong presence during the fall campaign. High expectations for Muskie had led to the beginning of the end and his meltdown in Florida where he finished with less than nine percent of the vote eliminated him.

McGovern barely gave much attention to Florida but their intention was simple: they wanted to split the far-left vote with John Lindsay. Lindsay was the other left-wing candidate in the race and if they’d ignored it Lindsay would have finished second or third in Florida as a strong contender. Their strategy worked: Lindsay finished fifth with 7 percent, McGovern with 6.2.  They then chose to ignore Illinois altogether, where they suspected Muskie would win (he did) and then move to Wisconsin. There Humphrey and Henry Jackson would split the moderate vote and allow them to leapfrog to Wisconsin where they would breakthrough and become the frontrunner.

It is during his coverage of Wisconsin that Theodore White makes mention of Gary Hart for the first time. White describes him as a true believer as well as the flaw of the campaign over all:

“His chief weakness was one he shared with most of McGovern’s top commanders: for all of his skill and subtlety in the machinery of a campaign he was a primitive on the issues. He hated the (Vietnam) war; McGovern hated the war; his heart belonged to McGovern – beyond that, Hart’s attention was not distracted by any deeper contemplation of America and its problems. McGovern would think for the nation, once elected; his task was to organize the election of McGovern.”

Of what was to be the most radical and leftist nominee of a major party before – and critically, since -  it’s telling how well White foreshadows the thinking of the true believer that will make up so much of politics for the next half-century. What separates Hart from, say, the Lee Atwater’s or Karl Rove’s of the world is that they had a belief system to go with their ability to campaign. Hart’s strategy was essentially to win the nomination and then the White House for their candidate, and then decide how to run the nation.

And its worth discussing the weaknesses in the McGovern primary strategy because while it never seemed to bother them, it would have sent shockwaves through the Democratic Party. That problem first manifested after Florida when George Wallace utterly routed all comers. In Wisconsin when McGovern took his first win with just under 30 percent of the voter it was nearly as shocking when Wallace, with almost no organization beat Humphrey for second place. McGovern’s approach to Wallace during the primaries was to not directly challenge him, perhaps knowing their campaign would do poorly in the South. As a result Wallace won Tennessee and North Carolina with no opposition and would also carry the Texas caucuses easily. The larger problem was Wallace’s strength in so many states with crossover primaries as Wallace finished second in Pennsylvania, Indiana and won Maryland +

Just as problematic was how badly McGovern was doing in states that the Democrats would need to win in November. Deciding to walk away from Illinois showed him getting less than half of one percent. He finished a distant third in Pennsylvania to Humphrey, narrowly lost Ohio (in a race many McGovernites considered stolen) and finished a distant second in Michigan. He only managed to narrowly win California and won New York only because it was uncontested by that point. McGovern managed to win a plurality of the 22 contested -primaries and four of them were on Super Tuesday (California, New Mexico, New Jersey and his home state of South Dakota). His major wins, other than Wisconsin, were Massachusetts, Nebraska, Oregon and Rhode Island. And the primaries themselves revealed McGovern’s limitations as a vote getter: he finished second in Humphrey when it came to total votes cast and only a quarter of a million votes ahead of Wallace (who’d stopped campaigning after his shooting but was still drawing on the ballot in many states). All told McGovern was the choice of just over 4 million Democratic primary voters, barely 25 percent of all cast. This was hardly a mandate of the passes and many establishment candidates were understandably upset.

And if how the candidate won troubled them, his platform terrified them. Few could argue with his sincerity about the immorality of the war in Vietnam – he’d been approached by Allard Lowenstein to run in New Hampshire in 1968 and had turned him down and after Kennedy’s assassination, he had taken up the doomed mantle of his campaign in Chicago. But unlike Kennedy or even Eugene McCarthy, McGovern seemed less interested in dealing with a platform beyond that initially. After his victory in the Massachusetts primary and he officially became the front-runner he now had to get an issues team organized. And White who had traveled with him, believed that the coalition of the young demanded that, regardless of his own feelings, that he must have their issues the center of his campaign. It was a case of the tail wagging the dog. McGovern views were never as extreme as his campaign but he ended up being labeled the candidate of ‘Acid, Abortion and Amnesty’. These views he believed necessary to win the nomination at all in order to seize control of the party:

“Yet what he said and spoke in the spring months could not be limited to audiences of his choosing. On the college campuses within the circle of his faithful, he might be cheered as the voice of the future; in the tormented cities of America, however, after a decade of similar ringing high minded proposals, he sounded like the voice of the past – more of the same, and frightening.

White compares McGovern’s campaign style to Goldwater’s and while the two men were complete polar opposites when it came to their style of approach, the devout nature of their followers and how most of America views them, he was completely accurate. It was also a reverse of the conservative agenda: where as Goldwater believed in increased defense spending and cutting public assistance, McGovern’s agenda was based on cutting the defense budget and increasing public assistance. This strategy, quickly labeled ‘the $1000 giveaway’ became the most ridiculed element of McGovern’s very mockable campaign.

All of these flaws convinced establishment Democrats that when it came to the McGovern campaign, the inmates were running the asylum. At the convention in Miami, the rest of America got to witness this firsthand and it turned out the leader was essentially being led by his followers.

The stop-McGovern forces at the convention focused all their energy on California. McGovern had won in based on the winner-take-all rule but it had been decided in forming the rules for primaries in the lead-up that it would only be in play for 1972 and after that, like every other primary, proportional. McGovern had won with 43 percent of the vote to Humphrey’s 38 but all 271 delegates were his under the rules. If the stop-McGovern forces could win the vote on the floor and force the convention to award the delegates proportionally, McGovern would not have enough delegates to clinch the nomination on the first ballot. If that happened, the old guard might be able to wrest the nomination from him.

Well before this battle was fought the McGovern delegates were determined to make it clear to the old guard they were in charge and if that meant burning the party down, so be it. This meant a fight over the Illinois delegation which was still controlled by Mayor Richard Daley. Despite the fact that the voters had chosen 59 delegates hand-picked by Daley, the McGovern people argued these delegates were improper. Their main argument was that the delegation was inadequately balanced – there were not enough young people, women or minorities. As a result, it had to be rejected.

To be clear the delegates might well meet the standards of McGovern but were not at all representative of Illinois. As Mike Royko would write, there was only one Italian and three Poles. “Your reforms have disenfranchised Chicago’s white ethnic Democrats, which is a strange reform…The other thing that bothers me about your delegation is that about half of it ran in the primary and it got stumped…Your co-leader (Jesse Jackson) didn’t make it to his local polling place. He’s being hailed as a new political powerhouse and he couldn’t deliver his own vote.”

But in keeping with a tradition that progressives hold with to this day, virtue mattered more than practicality. McGovern’s delegation was seated and Daley’s was thrown out. Frank Mankiewicz’s an old Democrat pol, said: “I think we may have lost Illinois tonight.” It was a case of cutting off one’s nose to spite one’s face. All that mattered was that they won over the establishment; that it might cost them the election was irrelevant.

Mankiewicz managed to negotiate things behind the scenes to arranged that the committee had won California. But before that came the ruling on South Carolina. The McGovern delegation realized the only way to win the California delegation was to stage a victory elsewhere. South Carolina was chosen.

This state was the battleground of the Woman’s Political Caucus. Their leaders wanted to challenge the seating of 20 of their delegates. The McGovernites knew that if that they had to lose there in order to win the battle for California and thus the nomination. White sums up the dilemma this way:

“We have 150 women out of our 1500 votes who love women more than they love McGovern… That means we’ve got to balance the psychological cost of losing South Carolina against the need of carrying California.”

The women’s caucus, as White wrote had no real case to present in South Carolina. But the women were upset by it

The larger problem with the McGovern convention was among the delegates. It had the face of the voters but not their elected representatives. As White wrote:

“With the exception of Lindsay, none of the big city mayors were there. The Democratic Party is a party that lives or dies in the big cities, of the 20 largest cities in the country the Democrats governed all but two. Yet these Democratic Mayors, who the people had elected, were absent…Of the 255 Congressional Democrats only 30 were present…The floor was the picture and the picture told the nation the story…blacks, youth women swirling around a podium at which they were only occasionally given contact with a Democratic past.”

For a group that proudly called itself anti-establishment the McGovernites called it a victory. But for the Democrat voters at home who had voted based on the past, this was a horror show. For half a century afterward, those of this guard have considered everything that followed as a reason to completely reject any form of politics. The nation had failed, not them. But as White points out it leaves aside the fact the difference between true believers and the average person.

The chaos that unfolded played out on the floor in front of America, most definitively in the Vice Presidential nomination. By this point McGovern had chosen Thomas Eagleton as his nominee. But rather than nominate him  by voice, six symbolic nominees were listed, the most prominent Sissy Farenthold by the women’s caucus. The delegation also nominated Cesar Chavez, Dr. Spock, the Berrigan Brothers, Jerry Rubin, Archie Bunker and Chairman Mao. McGovern gave his acceptance speech at nearly 3:00 am and it was unseen by most viewers.

Then the delegates took over the proceedings behind the scenes. McGovern offered the chairmanship to Lawrence O’Brien. O’Brien had overseen the entire chaos with calm and fairness. But when McGovern talked to his inner staff, Hart was quoted as:

“Rightly or wrongly, the role of the new chairman had elevated itself into symbolism. Were we only to have been used to get McGovern the nomination and then to be discarded as unneeded? Was he just another politician?”

To his staffers, Hart included, he was the symbol of old politics and had to be discarded. So McGovern betrayed the man who had worked for both JFK, LBJ and Humphrey for Jean Westwood. O’Brien had torched his reputation with the old guard in the name of fairness and to the new guard that wasn’t enough.

Worse came when he nominated his choice for Vice-Chairman. His choice was Pierre Salinger, JFK’s press secretary and former Senator to California. After he did so a hand was raised by a Mississippi delegate. Arguing to Westwood that in following with the rules they should have a woman chairman and a black vice chairman. The nomination was Basil Paterson, a black man from New York. No one in the group knew anything about Paterson; indeed someone actually who he was. But he was chosen because he was black and Salinger was white and in the eyes of the McGovernites that was more than enough. Paterson was nominated.

In both of these cases McGovern could have changed the minds of the voters had he expressed his preference which were O’Brian and Salinger. But McGovern charitably wasn’t the kind of man who believed in confrontation. As this represents he was completely willing to do whatever his followers saw fit, regardless of whether it was detrimental to his cause. The convention battles destroyed any chance he had to win over the old guard. Everything involving his selection of a Vice President – the so-called Eagleton affair which I have discussed in previous articles – destroyed whatever credibility he had with the average voter. At the end of the convention McGovern was trailing Nixon in the polls with 34 percent to Nixon’s 57 percent – all before the Republicans met in Miami. McGovern may have been the last to accept it, but even before Nixon was nominated for a second term he was already beaten.

None of McGovern people, Hart included, ever considered anything that happened in the fall campaign their fault. “George McGovern just doesn’t understand organization.” For him, the preservation of the integrity of the organization that had won the nomination was all that mattered. O’Brien didn’t understand how primaries how won. He described his method of organization as

“..confirmation of the initiative, responsibility, ability, equality of the enormously skilled, highly talented volunteers that won the primaries…But as one went on reporting, it all became confused. The regulars were of a state of mind, not a managerial group. And no one was in charge of reaching the state of mind of confused Democrats around the country. Hart did, indeed, manage his volunteer storefront organizations; but no one coordinated the ideas of the campaign, the themes of the campaign, the television of the campaign, the travel of the campaign”

And as a result the McGovern headquarters interior matched the campaign. By October:

“the scene…could only be described as filthy. Wastebaskets spilled over; cigarette buts littered the floor; paper cluttered offices; the corridors smelled…Xerox machines, clogged with paper clips might or might not work, mail might or might not get out that day…children roamed the floors…volunteers as young as 12 or 13 rode up and down on elevators…”

And because of this new breed’s inexperience  they had no regard for all of the democratic elders who would have been willing to help. “The new people had in their minds their own structure of politics; their own activist cadres plus a national reserve of volunteers who would eventually carry the cause.”

One old guard Democrat said: “They felt that they owned George McGovern, they had him long before anybody else, and by God , they weren’t going to share him.” The campaign it should be mentioned may have claimed to speak for the disenfranchised but headquarters had almost no black faces and only three women who had given loyalty to McGovern early.

There was a level of delusion that bordered on insanity. Command insisted that the primary victories would stand for the general when it came for the blue-collar vote. “Our people deluded themselves. They were angry when we pointed out what the working man resented was us.”  I’ve italicized this part because it indicates that this is something the left, even after half a century refuses to accept.

Because of Watergate and much of the recent effort to reclaim McGovern’s ability to win over certain constituencies during his campaign that would become vital to the Democratic coalition in the 21st century, there has always been a theory among certain people – mostly in the left – that McGovern was either cheated from the White House or a prophet who was misunderstood. The fact that he lost 49 of 50 states and that his campaign almost from the start was more about organization of the faithful then winning over the undecided has essentially been overlooked, particularly by the left.  I have little doubt that Hart came away from the campaign with the mindset of almost all of McGovern’s followers: the nation, the establishment had failed, not them. The only real difference was that almost all of them chose to abandon electoral politics altogether and take the attitude that their rejection was not their fault. It takes a lot of imagination to argue where you get 37 percent of the popular vote – a dubious mark that not even Walter Mondale managed to beat when he was landslided by Reagan – but the left is very capable of self-delusion. Watergate was not only a vindication of their cause but erased their memories as to the failures of their candidate. All of the utter inadequacies of McGovern as both a candidate and a campaigner were irrelevant. He hadn’t failed the cause; the nation had. And this blindness is the kind the left has seen to this day.

Hart was different in that he chose to run for elective office. In the 1974 midterms he would be part of the ‘Class of 74’ which gave the Democrats super-majorities in both Houses of Congress. He managed to survive the 1980 Senate Elections which took out a huge number of the old guard of liberal Senators, including McGovern himself. And then he began to consider higher office.

In the next article I will deal with Hart’s attempt to win the 1984 nomination for President, his meteoric rise as well as the flaws in his character that began to burden him.

 

Wednesday, September 18, 2024

Why Despite What Larraine Newman Tweets The Bear IS a Comedy

 

For the last several months many people have made it very clear that The Bear has been misclassified as a comedy. This opinion has been repeated in such publications as TV Guide and The Atlantic and as I mentioned in my review of The Emmys Eugene Levy made it a punch line.

As I’ve argued on more than one occasion The Bear is a comedy and the fact that so many people are sure it is not demonstrates how much sway the old standard of what a comedy is still hangs over television in the 21st century even after so much of it has changed. There are many ways for me to frame this argument but I think the most enjoyable one, from my perspective, is to use the argument of the most recent naysayer.

As many of you might know after Lisa Colon-Zayas was the surprise winner of Best Supporting Actress in a Comedy a groundbreaking comedienne made her opinion on the subject known in a tweet. This is where I must mention that while I knew that Hannah Einbinder was the daughter of an alum of Saturday Night Live I was ignorant of the fact that the alum was Larraine Newman. As the fiftieth anniversary of Saturday Night Live is commemorated not only in the media and the show but the silver screen, the rest of the world will soon know what a previous generation has forgotten: Newman was one of the original cast members of the show. And unlike every single member of the original cast and indeed so many in the decades that followed she was never able to achieve the mainstream fame that her fellow comediennes Jane Curtin and the late Gilda Rander managed to do.

Now I don’t pretend to deny the comedy bona fides of Newman: I’ve seen many of the episodes from that era and the sketches she was a part of and she was as good as her female counterparts and indeed quite a few of the males. `However there is a deep irony that Newman now thinks she can be the final authority on what comedy – something that I don’t even think she is aware of any more.

Saturday Night Live is considered so much of an institution by my generation that it’s been forgotten just how revolutionary it was when it debuted in 1975. Compared to not only the comedians who were then considered iconic -  Bob Hope, Milton Berle and George Burns -SNL was revolutionary in how it approached comedy at the time, particularly political comedy. Back then the high point of political satire came when Bob Hope made jokes about Eisenhower’s golf game or Rich Little impersonated Nixon. But to actually impersonate Gerald Ford and make him appear a bumbling buffoon on live TV was so unprecedented that many feel it may have been a factor in Ford’s eventual electoral defeat. This may be the subject of a later article by me but back in the 1970s Saturday Night Live truly took no prisoners when it came to political sacred cows. It was one thing to mumble in private about Ted Kennedy’s role in Chappaquiddick; it was another to have Bill Murray impersonate him by arriving at a speech dripping wet with seaweed in his hair – as the show did when Kennedy was considering a run for the White House. The way it utterly tore apart commercials; the way it made fun of films and television; the way it absolutely tore apart anything the previous generation held sacred was something no show considered even trying before SNL. One of the most hysterical moments in TV history came with Richard Pryor and Chevy Chase began a word association test for a job interview that quickly became an exchange in racial epithets – ended with the N-word. No doubt everyone who was part of the old guard – including figures like Hope and Burns – couldn’t believe it and never accepted it. They went to their graves refusing to change and were hailed as legends but desperately out of touch when they died.

Now Newman is as old as so many of the Old Guard would have been when she broke out on SNL. And she seems completely unaware of the irony in the fact that she now considers himself the final word on what comedy is. This isn’t anything new, of course. Considering all of the railing by conservatives about being ‘woke’ most of them have come to look at how comedy isn’t funny anymore. Their definition, however, seems to be based on the idea that comedians aren’t able to use racial epitaphs in their acts or say homophobic terms or use outdated terms for gender and race. This isn’t anything new: Bill Maher has been railing against this for thirty years and has in fact made it the centerpiece of his act that he can’t use offensive terms to describe society. (I’ll just mention that he did so when he was very young and let it go at that.) But what’s really been kind of sad is that so many of the revolutionary comedians of the past –  the most obvious names that occur to me are Chevy Chase and John Cleese -  can’t seem to recognize that the next generation gets to define what is funny. They were in the vanguard of what comedy meant fifty years ago and they don’t seem able to accept that it’s not 1975 anymore. Great comedy is universal but the idea that a joke from 1975 doesn’t get the same reception that in a set today doesn’t always mean that the audience has changed but you have.

And the biggest irony is, of course, that Einbinder was nominated for her work on Hacks. I know that Newman was understandably upset her daughter lost – what mother wouldn’t -   but I really wonder if she actually watched her daughter’s show. Because Hacks as anyone who is a fan (of which, make no mistake, I unabashedly am) knows that it is the story of a female comedienne whose been doing the same act since the 1970s and doesn’t feel any need to change – until she meets Einbinder’s character and begins to accept that she must evolve along with the times.

I still don’t know who exactly Deborah Vance is modeled after. Given the history Vance has with late night it’s very likely its Joan Rivers.  But it could just as easily have been modeled about a comedienne like Newman someone who has been cruising on her early celebrity for a very long time and sees no need to change anything she’s been doing for her act. (Think a female Joe Piscopo or Rob Schneider and you might see what I’m driving at.) It’s made Deb incredibly wealthy and she has an empire that is utterly unrivaled in fashion and is loved by her fans. But she’s also (and this would be keeping with the stories we hear of so many comedians and actors from the 1970s and 1980s) a habit of treating everyone around her like a servant and regularly abusing them.

I don’t know how much input Einbinder has into the creative decisions when it comes to characters on the show but considering how gifted Lucia Aniello and everyone who works for Hacks is when it comes to casting decisions as well as letting them occasionally have input into gags (the behind the scenes excerpts show as much) I think it’s at least a possibility. Deb has had a very difficult relationship with her daughter DJ (Kaitlin Olson) when the series begins. Her daughter has been struggling with rehab and anxiety and the two of them have basically given up on each other by the start of the series. Gingerly Ava (who as we shall see also has a difficult relationship with her mother) plays a role in the two of them reconnecting. By Season 3 the two of them have a pretty good relationship.

But there’s a scene in the third season that seems pertinent. DJ invites her mother to her NA meeting where she is about to receive her five-year chip. Deb reluctantly agrees to come and while she’s there, she tells a joke and spends the rest of the meeting performing. DJ is understandably angry at the end of it: “My sponsor likes you more than I do,” she tells her and its something that Deb can’t seem to grasp. That same episode DJ gets a chance to roast her mother on live television – and she absolutely kills. It’s clear in the aftermath that Deb is impressed. But then DJ says: “I get it now. Performing…it’s your addiction. You can’t stop doing it.”  Einbinder isn’t involved in any of these scenes but I truly think that there has to be some childhood experience that she used during these scenes.

During Season 3, I should mention, the show finally addresses cancel culture – something the showrunners had been discussing since the pilot. It comes while Deb is in the hunt for the job for late-night and she’s going to Berkeley to get an honorary degree. She’s received a warning sign that she might not get the job just before and when she’s at Berkeley a supercut of all of the material she’s done that is offensive over the years starts circulating on the internet – and everyone at the campus sees it and demands Berkeley cancel her.

Ava pulls Deb aside and tells her about it. Deb’s reaction is how horrible this is. Ava is sympathetic to Deb but can’t resist: “Being called on the consequences of your actions?” And with a straight face Deb says: “Yes!” (There’s a line there about her reference to Monica Lewinsky that I truly think you should see.) During that night it seems that Deb very well may have lost late night and she brings up the fact that she’s been cancelled. And she is genuinely furious. “This generation thinks I’m out of touch? I was fined by the FCC for doing the first joke about abortion!”  When Deb tries to console her that no one gets cancels, she counters: “White men don’t get cancelled. It’s different for us.”  And Ava who is so much the model of the GEN Z social media type, really can’t argue with this.

What makes Hacks a great show  - and is one of the reasons I think its one of the great shows of this generation – is that it shows the ability of being able to bridge the gap between the past and the present.  As co-dependent and toxic as their relationship can be the showrunners frequently do consider Deb and Ava’s relationship ‘a love story’. Halfway through Season 3  one of Deb’s oldest lovers tells Ava, who is drunk and unhappy, that he’s never seen Deb try as hard to be better than in the past few years  and that has to be because of Ava’s involvement. Deb demonstrates over and over throughout the show that she has the capacity to change and its telling that the most critical part of the series is that her mainstream success comes when she realizes that she has to change her act.  Deb Vance has been a pattern for forty years; it’s comfortable for her, she’s happy there and she’s fine with everything she considers comedy to be. But Ava makes it clear that change is not always a bad thing and that success and happiness can come when you embrace it. Deb represents the old guard of comedy, Ava the new breed. And it’s only when, however reluctantly, Deb accepts Ava’s point of view that she begins to find career success – and not coincidentally, an ability to come to terms with who she is.

What does this have to do with The Bear being a comedy? Well, among the loudest voices objecting to this classification are the old guard of which Newman is the most recent example of it. They have a fixed idea of what comedy is and they are resistant to anything that flies in the face of what they consider it to be. Part of this built in nostalgia for the past but it is also baked into the idea the only way to do comedy a certain way is the way you spent your life doing it.  I don’t know if Einbinder’s opinion on The Bear as a comedy but Ava would at least be more open to the idea that it was.

And the thing is, I think Deb Vance would too. One  of the critical parts of Hacks comes in Season 2 when after spending most of the season on the road trying to find way to make an act work, she finds the only way to do so is to find a way to laugh at her past. In this case, it means facing the greatest trauma – when her husband left her for her sister not long before she had a chance at late night. She realizes that old standard  - comedy is tragedy plus time – is true and that she can make gold by doing so.

So there’s an argument that if Deb Vance saw The Bear that she could very easily see the humor in it. Because much of what happens on The Bear is objectively funny if you look at it a certain way. ‘Fishes’ the show that won Emmys for Jamie Lee Curtis and Jon Bernthal this year seems like a raw emotional episode that is incredibly painful to watch. But so much of it is based on the idea of absurdity that it is exactly the kind of thing that with the distance of time could be considered hysterical. When Curtis drives her car through the wall of the house at the climax of the episode, it’s a horrifying moment. But it’s the kind of moment that Deb Vance could easily turn into a funny story years later.

Indeed its that very example that makes me wonder why Newman can’t consider The Bear a comedy. When she was still on SNL  Pryor was going through a massive cocaine addiction, suffering multiple failed marriages and had a heart attack – all of which ended up being part of his act sometimes within months of them happening. Objectively speaking setting yourself on fire is horrifying and it nearly killed Pryor. But after he recovered, he made the story and everything about the centerpiece of a concert film. Nothing that happened to Pryor – or indeed so many of the comedians during this period – can be considered funny when it was happening. But the ones we consider the greatest – and Newman was friends with all of them – were able to make it funny.

What The Bear does is challenge what we consider funny by showing us the part that we don’t see in all of those acts. Don’t kid yourself; if someone like Christopher Titus or Jerrod Carmichael told some of the same plots we saw on The Bear, you’d be laughing hysterically. Objectively everything that happens on the show during Season 2 was hysterical. The reason it’s not clear that its funny is because it’s happening now. Years later after the restaurant has a Michelin star and everybody’s a millionaire, all of them will be able to laugh about everything that happening the night of the dress rehearsal – including Carmy locking himself in the freezer while the rush was going on. But none of them know that now and neither does the audience. And because Storer and his writers makes us care about the characters – and more importantly because we want them to succeed – every single thing that goes wrong hits the viewer as hard as it does them.

 When a wall falls down in the kitchen, there’s no laugh track to tell us that it’s a joke. None of the characters share a look at the audience. They don’t have asides telling us how they feel that makes us laugh at them. And as a result what we would laugh at it if it happened in a 1980s sitcom or even something like Abbott Elementary doesn’t register the same way as it does on The Bear. It’s not funny to them, so we’re not sure if its funny for us.

As I said yesterday I was overjoyed when Hacks won the Emmy for Best Comedy this Sunday and I was dismayed that Einbinder didn’t win. But it’s not because I don’t think The Bear was misclassified. Both The Bear and Hacks are among the best examples of what comedy can be during this decade. But they have a completely different approach. Neither is traditional in the way that comedy was even five years ago but that doesn’t mean that Hacks is clearly a comedy and The Bear clearly isn’t. And it’s not like Hacks isn’t willing to look at deep issues – or indeed, some of the same issues – that The Bear just in a different way.

So I understand why so many people think The Bear isn’t a comedy in the traditional sense. But that Newman, who helped redefine what a comedy was half a century ago, can’t see the potential for it to evolve doesn’t mean she’s right when she says it isn’t. If anything, it makes it clear that she’s like a lot of the comedians we keep seeing throughout Hacks and that Deb Vance was at one time. She has an idea of what comedy is and she doesn’t seem capable of changing her mind. I do hope that after the Emmys her daughter goes to tell her not only that she was fine losing but that she’s wrong about her opinion of The Bear. Of all people she might be the best equipped to help explain that to the old guard.

 

Tuesday, September 17, 2024

My Reactions to the 2024 Emmys Concluded: The Joy and Surprise of The Winners

 

As I mentioned in yesterday’s article I have spent much of my career grading the Emmys based on how I view both the actual winners of the awards and how I grade their responses to it. I tend to use two metrics: their enthusiasm and joy and the utter astonishment of the victories.

There was more than enough of the former standard in January. Few could deny the enthusiasm on Ayo Edebiri’s face when Christina Applegate told her to ‘get your ass up here!”,  the utterly Roman Roy like approach Kieran Culkin took in his acceptance speech for winning for Succession, the utterly incredible triumph that we heard in Niecy Nash-Betts’s acceptance speech for Dahmer and the wonderful moment after The Bear won Best Comedy and Ebon Moss-Bachrach kissed Matty Matheson full on the mouth.

What there wasn’t, despite the reactions of the winners, was much real surprise. I don’t think there was a single winner during the entire January ceremony that came as a shock to anyone predicting the winners, certainly not me. I might have hoped Rhea Seehorn or Tyler James Williams would win but it didn’t stun me when Jennifer Coolidge and Moss-Bachrach did: they were the heavy favorites at Gold Derby. And while I didn’t think any were undeserving – I did see all of their work and found it more than worthy – it didn’t leave much room for spontaneity.

 At no point did we have the utter surprise and awe that fell over the crowd when Sheryl Lee Ralph took the Best Supporting Actress prize for Abbott Elementary in 2022. No one denied she’d given a spectacular performance but most believed that it would go to Hannah Waddingham or Hannah Einbinder. I thought that if anyone from Abbott won in this category it would be Janelle James given that she’d won in this category at the HCA’s a month earlier. Ralph’s moment was incredible not just because of her immediate viral reaction but because of the circumstances of it. There was even more diversity among the winners in January but less surprise. If I had any objections to that broadcast, it was that.

The same can’t be said remotely for what we saw on Sunday. Before the broadcast was half an hour old we got our first upset win and that tone continued for the entire broadcast including, as we all know, right up to the end. So with that in mind, let me review the winners.

There were no signs of what was to come in the early awards. It was expected that Moss-Bachrach and Jeremy Allan White would repeat their wins in the male acting categories in comedy for The Bear and that is exactly what happened. Billy Crudup’s win for Best Supporting Actor in a Drama was similarly unsurprising. What was nice, at least for me, was to see him give a shoutout to his wife. I had forgotten (if I knew) that he is married to Naomi Watts, who was up for an Emmy this year. That wasn’t the only power couple at the Emmys who I didn’t know was there – as was true with the very next award.

While everyone was still reeling from Kaitlin Olson supposedly offending the world when she compared Meryl Streep to a jock strap (again, she’s heard worse) we got the first stunner: the winner was not Streep or Hannah Einbinder, the heavy favorites but Lisa Colon-Zayas for The Bear. This clearly stunned Colon-Zayas as she walked up to the stage. She made it clear her husband had told her to write a speech and she didn’t listen. It wasn’t until they cut to her husband that I realized she was married to David Zayas who has been one of my favorite character actors in Peak TV since he first came to my attention in OZ. How could I not have known this going in? I’ve been watching Dexter again.

As upset as Einbinder’s mother was at her daughter losing (I’ll deal with this in another article) the significance is undeniable. Colon-Zayas is the first LatinX woman to win an Emmy in this category. This also marks the third consecutive awards where a woman of color has won in this category. Considering that there was a grand total of one prior to 2022 this is the clearest sign of how far the Emmys have come over the last decade. More were to follow.

We resumed normality for the next few awards. Elizabeth Debicki won for her work in The Crown  Jessica Gunning prevailed for Baby Reindeer. The most wonderful one of those was when ‘the amazing Jean Smart’ prevailed for her third Best Actress in a Comedy. I was personally thrilled when that happened for more than one reason. When Colon-Zayas won I began to fear that The Bear was going to manage a Schitt’s Creek style sweep of the Comedy awards. I breathe a sigh of relief and then joined the standing ovation when Smart won.

Smart’s speech was incredibly funny. “I don’t receive enough attention,” and after the laughter died. “No, I’m serious.” She then momentarily forgot the network she was a part of it and then made fun of it. “That’s all we need another network.” She then thanked her agent who was about to retire and with a remark that was completely Deb like said: “riding on a bicycle through Europe is apparently more important then representing me,” Smart won her third consecutive Emmy for three seasons and I’m happier for this than I was most of Julia Louis-Dreyfus’s wins over the 2010s.

I was thrilled to see Alan Cumming onstage to accept for The Traitors as I mentioned before he’s long been overdue a win. His speech, done with his natural Scots accent was as delightful as himself: saying how proud he was to be a part of a new service like Peacock, saying his native Scotland doesn’t get enough attention “Holland, either” he said almost as an afterthought and giving a remark about how the water in Scotland might fix America’s problems.

The late night prizes were both equally joyous to me. I was more than fine with John Oliver winning again and I loved when Maya Rudolph, Kristen Wiig, Bowen Yang and Seth Meyers came onstage to console Lorne Michaels for losing 85 times. Every part of this was hysterical, and as always Meyers was the grown-up when he told them that he’d won 21 Emmys. Rudolph then reacted: “Lorne’s, that’s too many.”

As someone who loves everything Billy Crystal does I was glad to see him onstage when he presented the Emmy for Best Talk Variety. He shared his understandable terror the first time he appeared on Carson, then shared his ‘memories’ about the four nominees in the category the first time he showed up. He told us he thought all four men were  very funny but it was clear they’d all slighted him. Stewart, Meyers and Kimmel all invited him to dinner after his appearance and apparently none of them showed up to meet him. His remark on Colbert, well, you can track it down. “I didn’t say they were funny; I said they were my first thoughts.” Then he proclaimed The Daily Show the winner and I got to see Jon Stewart get yet another Emmy. “You’ve made an old man very happy,” he told us in his speech. No Jon, you make us very happy.

The other surprises filled most of the hour in between the late night awards and most of them came in directing and writing. In direction in a Limited Series I was thrilled to see that Steven Zaillian was honored for his work on Ripley. As someone who thought that the series was as much a technical masterpiece as it was on any other level, Zaillian’s win was one I’d been quietly rooting for. Most had expected Baby Reindeer to win and that was the only one I’d wanted it not to triumph at. When Richard Gadd won for Writing in a Limited Series I was more than happy with that and got to hear the first of three moving and powerful acceptance speeches.

Bigger surprises – and for me, more pleasant ones – came in the other writing categories. Like all of you I naturally assumed that the ‘Fishes’ episode of The Bear would take the prize for Best Writing in a Comedy Series. But instead it ended up going to Hacks and Paul Downs, Jen Stansky and Lucia Aniello won for the season finale. Downs’s gave most of the speech. “You have no idea what this means for three unpopular kids growing up” Jen whispered in his ear. “Actually Jen tells me she was quite popular.” After the laughter, “Well for two unpopular kids” Lucia then whispered in his other ear and Paul sighed. “My wife she wasn’t un-popular. Well, for one unpopular kid and two pretty popular ones…”

This is the second Emmys Hacks has won in this category, so maybe I shouldn’t have been that shocked by its winning here. But when Christopher Storer took the Best Directing in a Comedy a few minutes later like all of you I assumed, okay, the writing prize was an outlier The Bear is going to win the grand prize.

A far bigger shock – but no less pleasant – came with Best Writing for a Drama. I suspected Shogun would win for ‘Crimson Sky’ even though many though that two nominations in this category might mean a split in the vote. I’ve rarely been more thrilled to be proven wrong, particularly for Slow Horses. I loved every moment of the acceptance speech starting with: “My name is Will Smith, but I come in peace.” Smith thanked everyone at Apple, including Mick Herron and Gary Oldman. That Slow Horses managed a win against a field like this gives me great hope that it will be back in the trenches next year against what will certainly be a tougher field.

Then the biggest shock of the night seemed to happen with the presentation  of Best Supporting Actor in a Limited Series. As I mentioned in my predictions of the Emmys earlier, this was an incredibly strong field with no bad choices. But the favorites were Jonathan Bailey for Fellow Travelers and Robert Downey, Jr. for The Sympathizer. Lamorne Morris ranked seventh out of seven choices.

Then the winner was announced – and it was Lamorne Morris. And much as I may have been personally rooting for others, such as Bailey or John Hawkes, Morris’s win was good for my soul. He managed to overcome what has been an unwritten curse for Fargo in that it has never won a single Emmy for acting. Morris’s work was the equal of so many other forces of good in that show, most notably Carrie Coon and Alison Tolman. And as someone who was as much a veteran as anyone else in the category and whose reaction was more spontaneous than almost any acting winner I’ve seen since Ralph – and perhaps more out of left field than any since Merritt Weyer’s triumph for Nurse Jackie – it was incredibly fun to watch him seem to melt down and pay tribute to his heroes during this speech.

During the final hour, things basically went according to the forecasters which didn’t make them any less deserving or enjoyable. Richard Gadd managed a trifecta, winning for acting, writing and producing Baby Reindeer. And with each win he seemed, if anything, to grow more humble and moved. Whatever Gadd does next and I can’t wait to see what it will be, few will forget his work here.

Jodie Foster’s triumph for True Detective drew one of the night’s longest standing ovations. And even for someone who would have preferred to see Brie Larson or Naomi Watts prevail I won’t deny I wasn’t an overjoyed as everyone else. Foster has been one of the great actresses of my lifetime and always humble. Her speech reflected that as she went out of her way to thank Issa Lopez, Kali Reis and the indigenous people of Alaska. And for someone who not long ago refused to talk about her sexuality the fact she chose to thank her wife in this speech was a real marker for both how far she – and society – have come. Danvers’s was an aggressively heterosexual character in Night Country; that no one even questioned that part of Foster’s work shows the range for this as much as it did for so many of the nominees this year (Matt Bomer in particular comes to mind)

The rest of the drama awards were the coronation of Shogun. As Daniel Levy mentioned it had already made Emmy history with fourteen Emmys at the creative arts awards but until the last half-hour the Emmys had been quiet. Then in rabid succession it won for Direction and took both lead acting prizes. I’m not sure whose victory was the most rewarding: Hiroyuki Sanada’s triumph in which he spoke both with modesty and frequently in Japanese or Anna Sawai’s speech in regard to both the cast and the kind of roles she got. Sanada and Sawai are the first native born Japanese actors to win at the Emmys, a victory that is as much triumphant as Lee Jung-Jae’s win for Squid Game two years ago.

Naturally it took the grand prize and it was fitting it came from the cast of The West Wing. That show had broken the record for most wins by a drama series with 9 in its first season. Now a quarter of a century later they gave the grand prize not only to a record breaking series but to a network that ever since it had broken onto the scene in 2002 had never once won the grand prize. That it did so for a series that was, at least in theory, completely different from shows such as The Shield, Damages and The Americans might seem strange but it was no less revolutionary and far bigger a risk.

Now all that remained was for Catherine O’Hara to crown The Bear the winner for Best Comedy. Except that wasn’t what was in the envelope. Instead the winner was Hacks. The audience might have been shocked but they covered it will if they were.  Paul Downs clearly handled it masterfully and Lucia Aniello said she had to make it quit because they were going to start shooting Season 4 this week.

Personally I was overjoyed. I had no problem with The Bear winning (I’m actually going to write a piece about why it belongs in the comedy category despite what so many people think) but as was clear in my predictions my heart was with Hacks. It’s not only one of the most consistently funny shows on any service, it’s now on my shortlist for the greatest shows of this decade. It is without question one of the masterpieces of a genre and while it is just as deep as The Bear no one argues it’s a comedy.  Ever since I started seriously reviewing streaming series Hacks has been the only show that I have been willing to start watching as soon as it premieres. No other streaming series – not Ted Lasso, not The Kominsky Method, not even The Bear – has held that power over me. But I feared given the extensive level of competition in the comedy category that it would be one of those shows like The Good Place and Insecure that would never win the top prize despite its quality.

I don’t know if it was the backlash against The Bear’s placement in this category or the fact that momentum had been moving away from that show and towards Hacks in the past few months. (I reported as much in many of my articles about the Emmy watch for the last few months.) And to be honest I could care less. No one in their right mind will argue that Hacks was an undeserving winner; few would argue The Bear was either robbed or even denied its due. (The show broke its own record for most wins in a comedy, something that has clearly irked many.) The Emmys is supposed to recognize great shows. No one will argue that Hacks isn’t one.

Regardless of whatever the critical reaction will be to both the winners and the broadcast no one will deny it wasn’t a success for ABC. Early ratings show that it jumped nearly sixty percent in viewers compared to January and while that may be less than seven million viewers, no one will say it wasn’t a big step forward for a broadcast that has been steadily leaking viewers for almost as long as the medium its celebrates has been at its peak. And considering both the quality of the broadcast and the winners, this may be the most positive sign the Emmys has had in a very long time. Whether it will last now that the era of Peak TV is over (something I continue to debate and that FX clearly is fighting against) remains to be seen. What I do know is that no matter how you slice it this was the kind of night Television’s Biggest Night needed and got.

This ends, for the second time, my coverage of all things Emmy related for 2024. I’ve already started on the new season this week. Expect to see much more in the days and weeks to come. Sunday left me optimistic about the future of television since the end of last year’s work stoppage. Let’s see how long the buzz lasts.

Monday, September 16, 2024

My Reactions to the 2024 Emmys, Part 1: What Both of This Year's Emmys Have Shown What The Broadcast Has Been Missing All My Life

 

Last night’s Emmys gave me more pleasure than I’ve had watching the Emmys in  a very long time. And having seen two Emmy ceremonies in less than a year, it has helped me realize just what’s been missing from ‘Television’s Biggest Night’ all these years and why the Academy finally seems to have realized it too. For that reason I’m going to break precedent and do something I’ve never really done in all my years of reviewing almost every award show for this column and that’s actually look at last night’s broadcast from a critical perspective. (Don’t worry; I’ll get to the actual awards tomorrow.)

If you’re a long time reader of my column (and the fact that you’re reading this article in the first place probably guarantees that) you know that I have a very odd approach when I look at awards shows for my column: I rank my enjoyment of it based on how much I liked the winners and their speeches. This might seem bizarre to many people; it seems very much like someone who reads Playboy for the articles. But I’ve had a method to my madness.

For starters there is the fact I do take TV very seriously and perhaps care more about who actually wins than most people should. Considering that this is the era of Peak TV, I’m actually surprised that more people don’t. I understand the logic to be sure  - if anything, I’m more aware of the foibles and lapses in the judgments of the Emmys than the average viewer and I understand why they would count them as less than meaningful. But as someone who is a fan and loves the majority of the shows that are nominated I do care more who wins and who loses. So the awards do count more.

However I must admit that over the years I’ve tended to take on that old cliché regarding these awards shows: if you can’t say something nice, don’t say anything at all. It’s practically de rigeur of all critics to yell at how self-congratulatory, bloated, and awkward all awards show are. I do understand that logic but just as you don’t read the Bible for its prose, you expect all of these things to come up in a awards show by design. If at this point in your life you’re actually watching the Academy Awards for the purposes of being entertained and not because you’ve seen any of the nominated movies,  I think you seriously need to question your entire approach to life.

So I come to most awards shows with the expectations of someone who’s going to the dentist: you know it’s not going to be fun, it’ll probably be painful, and you just want it to not take any longer than necessary. That doesn’t mean that with the Emmys I have been more disappointed with how the ceremonies have played out that most awards shows. It’s actually annoyed me the better the class of nominations and awards with each passing year. How can your product keep getting better but the night where you pay tribute to it still plays like an Oscars broadcast circa 1983?

Part of the problem might be the nature of what network hosts the Emmys: it rotates between all four networks with each year and each network is not going to use the same host who did so well the previous year. No matter how good a job Stephen Colbert did in 2017 – and I think his work was one of the better ones – there was no way NBC was going to use him in 2018. But it doesn’t excuse the fact that so many of the hosts I’ve seen during my viewing experience have proved woefully inadequate to the task. It says something that Colin Jost and Michael Che now openly mock their stint hosting the Emmys in 2018.

But there’s a larger problem that the Emmys have also had which is about the way they acknowledge their history. It tells you a lot that over the years the way the Emmys have done it have made the Academy Awards efforts at paying tribute to the past – which frequently manage to stop dead shows in their tracks – look subtle by comparison.  And it’s that part that truly irritates me more. You guys are paying tribute to the medium you work in and you still can’t get it right? I acknowledge that Laugh-In was a historic show: why did we have to have the surviving cast present an award in their trademark style? There have been some bits that worked better – the 2011 tribute framed through the style of The Office is one of their finest hours – but they have been exceptions to endless periods of stilted action, often done through montages that don’t work.

Some hosts have managed to do better jobs over the years – Jimmy Kimmel has managed to perfect it during his three stints (including the one in lockdown) and Andy Samberg struck the right note of mockery and respect in his stint in 2015. But most of them have only been able to do what the framework will allow them and it can make even the joyous moments feel like a drag.

So when the Emmys for 2022-2023 ended up taking place this past January, my expectations were at their usual low marker. It didn’t help that the work stoppage the previous summer had dimmed my enthusiasm and that I was dealing with what was going to be a protracted new season. The fact that this was the 75th anniversary of the Emmys didn’t encourage me one bit: anniversaries have chosen to up the ante of stilted tributes with even less reward.

If you read my review of the Emmys last January you know how much they surprised me. A large part of the credit must go to Anthony Anderson as the host. I expected him to struggle at the job. Anderson did start his career as a standup comic but he hadn’t been one for years. I have great respect for him as an actor but I thought he would be inadequate to the task. Instead he almost single-handedly raised the bar not just for an Emmy host but any awards show host.

I don’t know how much Anderson did in regard to the presentation of January’s Emmys but there are few performers who would have more suited to it. Anderson’s career on television practically extends throughout Peak TV as a whole. His breakout performance was as Antoine Mitchell on The Shield; he then did fine work as Detective Bernard on the final three seasons of Law & Order’s original run and then moved to black-ish in 2014. He had a great friendship with Norman Lear in the last decade of his life and starred in more than one of the recreations of episodes of his shows that made him visible again. He’s hosted more than a few game shows for Fox (which was broadcasting that year). Few performers know television better than Anderson.

What he chose to do was forego the traditional role of the emcee and pay more of a respectful host through the many exceptional moments television has provided us. He sat in Dr. Melfi’s office and reminded us of The Sopranos, showed connections between The Twilight Zone and American Horror Story, was willing to talk about Mad Men and Grey’s Anatomy with respect and was always willing to let certain shows that had been overlooked – such as Martin – get their due. (I really do think the cast reunion was his work.) By the time we ended the show with him introducing the Iron Throne in regards to Best Drama, it didn’t seem heavy handed in the least.

And as a result there was not a single tribute or presentation that seemed heavy handed or badly done at all night. There was an appreciation for the past and respect for the present. When Anderson mentioned that the Emmys were taking place on Martin Luther King Day, it wasn’t heavy handed because of the groundbreaking diversity among the winners. Consequently I didn’t just enjoy the Emmys because of who won; I enjoyed the Emmys, period.

And throughout last night’s Emmys it clearly seemed to be that ABC seems to have decided to take a similar approach to what worked just eight months ago and find a way to give a fresh spin on it. It helped matters immensely in their choice of hosts: Eugene and Daniel Levy.

Like Anderson both father and son have a connection with television that goes deep. Eugene Levy’s broke into television with his work on SCTV and has been one of the most frequent guest performers and hosts over the decades well before he and his son collaborated on the classic Schitt’s Creek which made Emmy history in 2020 when it swept every major category in Comedy. Dan spent the better part of a decade trying to make a name for himself in film but didn’t get there until he created Schitt’s Creek and as its star rose (pun not intended) so did he. He’s probably not proud of everything that’s happened since (I have little doubt he regrets his work in The Idol) but he’s a link to television present and future.

And from the start of their appearance both Levy’s went out of the way to mock the shows but did everything in their power to turn on each other. Eugene started by saying that he played many dad’s in his career but his most rewarding role was ‘your dad’. There was an emotional aww and the moment the applause ended he added: “on Schitt’s Creek. Because, you know that’s when I won my first Emmy.” Dan returned the favor in the monologue later in the monologue when he paid tribute to Baby Reindeer by comparing his father’s text messages to the ones that Martha sent. He then posted them on the screen in the exact same font.

This back and forth mockery played throughout the night. Just before they were about to pay tribute to TV dads Eugene asked his son if there were any dad role models. Daniel thought for a moment and said: “Coach Taylor. He got me from some hard moments in my 20s.” Eugene then said: “Anyone else?” Dan paused: “Tony Soprano.” Eugene looked baffled. “Tony Soprano killed people.” “Yeah, but his heart was in the right place.” This may be the funniest dad joke ever.

Later that night in regard to The West Wing Dan said: “Fun fact. The first choice for the role of Toby Ziegler was my father. But he passed and it went to Richard Schiff, who won an Emmy.” (I don’t know if that’s true but it might be.) Eugene asked: “How is that a fun fact?” “Well, it was fun for Richard.” Eugene then asked: “What happened when you auditioned for Ripley?” After the laughter Dan said: “I haven’t heard back yet.”

This mockery was gentler and not labored the way so many TV jokes are and therefore the punches were gentler. After mentioning that The Bear had been nominated for 23 Emmys Eugene said: “Now some might question whether The Bear is a comedy. But much like The Bear, we will not be making any jokes about it.”  Levy also had enormous fun with his more recent co-stars from Only Murders in the Building which played out when he introduced Steve Martin and Martin Short as “from The Golden Bachelorette.”

The Emmys continued the theme of tributes the way they did last time out but with their own spin. When they paid tribute to the fiftieth anniversary of Happy Days it didn’t seem out of touch because both Ron Howard and Henry Winkler are still working in television; Winkler just finished his work in Barry and was nominated for an Emmy just last year and as he pointed out to Howard, he had just won several Emmys for producing a documentary on Jim Henson. Much of the night was spent towards paying tribute to the 25th anniversary of The West Wing and that came at the end of the night with the presentation of Best Drama. Martin Sheen, Allison Janney, Dule Hill, Richard Schiff and Janel Moloney were all there for it. I should mention that while this bit including the understandable digs as the 2024 election (Schiff made the joke that these days politics has storylines that our writers would have found implausible) it didn’t seem as heavy-handed mainly because with the exception of Moloney all of the performers have been working in television constantly ever since the show was canceled and indeed Janney was there as part of the cast of Palm Royale.

ABC’s approach was to take on the various tropes in TV and this was always done with the right amount of respect and self-deprecation. When George Lopez, Damon Wayans and Jesse Tyler Ferguson came on as TV Dads, Lopez asked them to pay tribute to their wives. Ferguson gently asked if they saw my show. Lopez said: “All 90 seasons of it.” The TV moms who came out – Meredith Baxter, Connie Britton and Susan Kelechi Watson – paid tribute to the kinds of mothering roles available. Britton gently remarked on the four mother’s she played – including the one on American Horror Story who gave birth to the Antichrist – and then they remarked on how far mothers had come since the start of TV, including them finally asking how if couples swept in twin beds they became mothers at all. TV villains were represented  by Kathy Bates, Giancarlo Esposito and Anthony Starr. Esposito was fun when he remarked how when he went out to dinner “drug dealers come up to me and ask how to expand their empires.” They played similar respect and deprecation through doctors, cops and lawyers, all of which they handled well and with a proper mix of TV history and diversity. Gina Torres was there along side Christine Baranski and Viola Davis for lawyers and while it might have seemed out of place to have Niecy Nash-Betts there with Don Johnson and Jimmy Smits, it more than paid off in the punch line. (Watch it on YouTube; I wouldn’t dream of spoiling it.)

The tributes came in so many other smaller ways: Candice Bergen came out to present Best Actress in a Comedy and remarked on everything that happened involving Murphy Brown and Dan Quayle in 1992. “Look how far we’ve come,” she said to a huge laugh. “A vice-presidential candidate would never dare admonish a single mother for raising a child. My work here is done. Meow.” Steve Martin, Martin Short and Selena Gomez came out to present the first award and it was wonderful watching Gomez crack up in front of these legends. I’m still not sure which was my favorite part: Martin and Short cracking up when Gomez told the audience awards don’t matter “She’s so young,” Short said or Martin’s line saying “if I haven’t seen your show I just say: ‘I love that thing you did with Nicole Kidman. And nine times out of ten, I’m right.” (This was made better by the immediate cut to Laura Dern and Reese Witherspoon sitting together. Season 3 of Big Little Lies can’t come soon enough.) And as you’d expect the inevitable conclusion came when Daniel and Eugene were onstage and Annie Murphy showed up because she thought she was the comedy legend to present Outstanding Comedy Series. Naturally the last award was given by Catherine O’Hara.

Even John Leguizamo’s speech about diversity in the Emmys, which would have been heavy-handed under other circumstances wasn’t because it was actually appropriate as much this year as last year. The Emmys was more diverse than it had been and it was more than willing to recognize LatinX      nominees than ever before. (Leguizamo was relatively modest: he neglected to mention Nestor Carbonell’s win for Shogun at the Creative Arts Emmys among those highlighted.) And it came as part of the Governor’s Award to Greg Berlanti, one of the most brilliant showrunners of the 21st century particularly when it comes to LGBTQ+ characters in all of his series. His speech, like the man himself, was modest, humorous and self-effacing and I was glad to see him get the recognition he deserved.

In short both of this year’s Emmys ceremonies have done something I had long since given up any hope of actually happening: an Emmys that was worthy of the same respect to the medium it was honoring. Of course there were some moments that were cringeworthy but that’s part of the reason we watch awards show for. (And seriously, Meryl Streep has been told she could get nominated for reading the phone book. I think she can handle being compared to a jock strap.) I don’t know which network gets the carry the Emmys next year (two in the same year has thrown my calendar off) but I hope they take the lessons learned from both of the ones in 2024 and find a way to keep building on it. This is the standard I’ll be holding Emmys broadcasts to from this point on.

Tomorrow I will deal with the actual winners. And trust me, they were worthy of the broadcast.