Doctor Who: "The Savages"

The last of three lost Doctor Who serials that don’t get nearly enough praise or attention. To check out the first, “The Abominable Snowmen,” click here; to check out "The Smugglers," click here.

Let’s not just make the case for “The Savages” as a supremely satisfying, highly underrated, sadly overlooked “lost” Doctor Who story. Given that this series of blog entries is about making the case for lost serials, that would be dull and predictable — and besides, does anyone really need another of those essays? Instead, let’s make the case for “The Savages” as the best First Doctor story that’s not a historical.

The 10 Most Comforting TV Episodes About Death

My 12-year-old miniature schnauzer Czerny died earlier this month. As friends here know, he wasn’t just my puppy — he was my support dog and my best friend. Philip and I had two dogs before Czerny, and both brought something wonderful to our lives, but Czerny was special. He had a joie de vivre and a sense of wonder that were infectious. Every meal was the best meal. Every walk was the best walk. Every trip was the best trip. We adopted Czerny in early 2009, shortly after I was diagnosed with degenerative autoimmune disease. He was with me when my health started to decline in 2011, and when it dramatically worsened in 2016 and 2017. Eventually, as my world got smaller, as my life was forced into a very predictable routine, I began to see the world through Czerny’s eyes, and it brought me new purpose and vitality. I came to realize that sameness doesn’t have to be sad or dull — that you can still greet a familiar day with an eager heart.

Trials & Tribulations: The Best of 2020

My write-up of 2020, following 2013, 2014, 2015, 2016, 2017, 2018 and 2019. As always, I don't claim to have seen everything. I watch what I can, when I can, and of what I saw in 2020, these were my thoughts.

Unexpectedly, despite the pandemic curtailing output, 2020 was an awfully good year for television. It started strong, with a half-dozen fine dramas launched in January and February, and by the time the industry shut down, enough shows were in the can that they could be sprinkled through the spring and summer months.

The 10 Best "Kate & Allie" Episodes

Let’s presume you’re familiar with the premise of Kate & Allie (two divorced mothers — best friends since high school — decide to share an apartment in Greenwich Village) and jump right to the part where we dispel a few myths. At the advent of the internet, it felt as if the history of television was being chronicled by people who had watched the shows as they aired, and developed opinions and theories in real time. Now that we’re two decades into the 21st century, it’s come to seem as if all shows that predate Friends are being documented by second-hand sources: viewers who came to them decades after the fact, who get their information and often their assertions from the likes of Wikipedia. You see the same false presumptions and annoying inaccuracies crop up in article after article — articles that have clearly been cribbed from one another — and you’re left thinking, “That wasn’t how it happened.”

Private Faces: notes on Roadkill and Life

Collateral was my favorite TV drama of 2018. With only two months remaining, I’d be surprised if Roadkill doesn’t wind up my favorite drama of 2020. Both were written by David Hare, and in tone and construction, they couldn’t be less alike. Essentially the only thing they have in common is that both are masterful. So basically, what we have here is a 73-year-old playwright and screenwriter at the peak of his powers, which, offhand, might just be the most encouraging thing I can say about 2020.

Newhart season 7

Of the sitcoms I’ve profiled at this blog, some emerged out of the gate fully formed (Murphy Brown, Bewitched). Others took a while to get their bearings: to figure out how to most successfully showcase the characters and mine the comedy. And that’s not that unusual. A whole lot of promising sitcoms don’t catch fire till Season 2; the first season is a bit of a learning curve for the writers, and come Season 2— if the show is filmed before a live audience — you get to share in the audience’s exhilaration, when it’s apparent to all that the show has been (sometimes only subtly, but nonetheless momentously) transformed, and the laughs have blissfully multiplied. And then there are the shows that don’t reach maturity till a little later. Both The Mary Tyler Moore Show and Designing Women become the best versions of themselves in Season 3: the former through a soft reboot, the latter through a careful rebalancing act.

But how about a sitcom that becomes the very best version of itself in Season 7?

Doctor Who: "The Smugglers"

The second of three lost Doctor Who serials that don’t get nearly enough praise or attention. To check out the first, “The Abominable Snowmen,” click here.

There’s only one reasonable response to “The Smugglers” — and its tale of 17-century piracy — and that’s unconditional surrender.

And still it’s the single most overlooked serial in all of Classic Who.

Criminal Minds season 8

Criminal Minds debuted in the fall of 2005, as CBS was riding a wave of popular procedurals. The first of these, of course, had been CSI: Crime Scene Investigation, which had premiered five years earlier to surprisingly little fanfare. It had been slotted behind a remake of The Fugitive, which CBS was pinning its hopes on — but The Fugitive never delivered on that promise, whereas CSI, week after week, built on its lead-in. So when CBS, after debuting the reality show Survivor to gargantuan ratings in the summer of 2000, decided to launch a second season the following February, they chose CSI, their most popular new series of the season, to follow it — and the pairing proved felicitous. Within a year, CSI had risen to become the #1 show on network television. Spin-offs and similar procedurals — that combined old-fashioned detective work with newfangled forensics — quickly followed: Without a Trace and CSI: Miami in 2002, Cold Case in 2003 and CSI: NY in 2004. And hot on their heels came Criminal Minds.

Maude season 2

I had occasion to meet producer Norman Lear in the spring of 1978, when I was a freshman in college. He was coming to our university to give a brief lecture, and then a select group of students were joining him at a local restaurant for dinner. I have no memory of how those particular students were chosen, but as a lowly freshman, I was not among them. But this was at a time when my ambition was to write for television, so I was not about to miss the chance to meet Normal Lear — and having been raised on ‘60s sitcoms, I wasn’t going to let anything as trivial as the lack of an invite stop me. In true Lucy Carmichael fashion, I managed to convince the school newspaper that they needed to do a story on Lear’s visit, and even though I had never written for them before, I persuaded them that I was the one to do it. And then I made the case that part of covering his visit meant covering the dinner, so they snagged me an invite.

Unwilling Victims: notes on Christine Keeler, Deadwater Fell and Flesh and Blood

How do you stand up for women in this day and age — ordinary women — without being overlooked or ignored? I keep hearing — in this #MeToo era — how wonderful it is that we’re hearing so many female voices on television: authentic, passionate female voices. But I mostly see viewers cheering about empowerment when the heroine can punch a hole in the wall or toss a man across the room. In a recent New York Times article entitled "I Don't Want to Be the Strong Female Lead," OA creator and star Brit Marling argued that although the film and television industries — after decades of portraying women as victims and sex objects — have done a 180, the results haven’t been entirely satisfying. Instead of applauding women for the qualities that make them admirable and unique, they’re now imbuing them with traditionally male traits. Consider the new female lead, Marling wrote: “She’s an assassin, a spy, a soldier, a superhero, a C.E.O. She can make a wound compress out of a maxi pad while on the lam. She’s got MacGyver’s resourcefulness but looks better in a tank top.”

And although I see Marling’s point, I think the problem lies as much with audiences as with studios. I see a whole lot of female writers and directors fighting to bring fascinating, “ordinary” women to the screen; I even see many of them focusing on the systemic victimization of women in a way that doesn’t diminish their subjects, but elevates them instead. I just don’t see viewers paying attention.