The "Jumping the Shark" writer finally speaks out

This is a repost from many many years ago.

There’s a nice article in the LA TIMES “Calendar” section by Fred Fox Jr. the writer who wrote the famous “Jump the Shark” episode of HAPPY DAYS.

Very quickly, for those who don’t know, several guys were sitting around a bar one night discussing their favorite shows and wondering what was the precise moment that they went downhill? One suggested for HAPPY DAYS it was when Fonzie literally jumped a shark to prove his love for girlfriend Pinky Tuscadero. That expression caught on, a website was born, and the rest is infamous history.

You can read Fred’s article here.

He talks about dealing with it. Going from incredulous to embarrassment to acceptance. When I read the piece, this was my reaction: envy.

Seriously, how cool to say you wrote one of the single most famous episodes in television history! Bobby Thomson hit “the shot heard round the world” but everyone also remembers Ralph Branca, the pitcher who served it up. Name me one other relief pitcher from 1951.

I’m glad that Fred wrote the piece. I’m glad that he’s willing to accept the notoriety. I say, own it. Be proud of it.

And by the way, that shark episode was not the tipping point for HAPPY DAYS. As Fred points out, the series went on for another six highly rated seasons. That’s like the Titanic hitting an iceberg and sinking three years later.

One other point: To this day, HAPPY DAYS reruns make me laugh. They’re 30+ years old but are still funny. There are even some good laughs in the episode where Fonzie jumps the shark.

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How to avoid the "casting couch"

Yes, the "casting couch" does exist in Hollywood -- for women and men.  Most of the time casting sessions are legit (governed by union guidelines), but not always.  

So how do you know going in to a casting situation that it's shady? Good question.  Rarely is "must sleep with me" on the breakdown sheets.   So girls, here are some warning signs.  Yes, they are facetious but also true.

You may find yourself in a casting couch situation…

… when the casting session is held in an apartment in Pacoima.

… when there’s no script.

… when the producer’s first question is “Will you sign this document verifying you’re 18?”

… when the project is the MOTHER TERESA STORY and you’re told nudity is involved.

… when you Google the producer and it takes you to SmokingGun.com.

… when he’d prefer not dealing with your agent because he’s an artist not a businessman.

… when he looks like Fredo from THE GODFATHER or Bob from BECKER or Steve Buscemi from anything.

… when there’s no one else in the room.

… when you learned about the casting session from a handwritten note on the bulletin board at Safeway.

… when there are bars on the windows of his office.

… when he has seven video cameras in his office and one is built into the floor.

... when he wears an ankle monitor. 

… when you’re the only one there to audition.

… when you recognize him from BIG BROTHER.

… when the script is CHINATOWN by Robert Towneger.

… when it’s a student film but the director is 60.

… when you feel the least bit suspicious for ANY REASON.

I hope you never find yourself in one of these situations.   Best of luck. And I look forward to seeing you one day in a real casting session, where you have a drive-on to the lot and everything!

NOTE: This was a modified re-post.

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Friday Questions

Hello from New York. As you can imagine, the whole town is in mourning over Joan Rivers.  Funny, fearless, and actually a very sweet person.  There was a documentary about her that came out a year or so ago.  If you get a chance, see it.  You'll appreciate her even more.  Here are this week’s Friday Questions. 

Dave asks:

When an actor announces he wants to leave a show, be it David Caruso wanting to do movies, Rob Lowe miffed he wasn't the star, or Josh Charles apparently just getting bored, it seems like they're accommodated. Does it ever happen where an actor says he wants out of his contract and is told no, because his character is too vital? Or do the writers just shrug and, as with The Good Wife, simply have another attorney show up and start flirting with Julianna Margulies?

Usually actors leave after their contracts are up.  In Josh Charles case, his deal was up the end of last season and he graciously agreed to stay on for most of this year.  He was a total mensch.
 
But if an actor is going to be so miserable and make everyone around him miserable (David Caruso from what I understand) generally a settlement can be made.

But not always.

Bob Newhart wanted out of the BOB NEWHART SHOW with one year remaining on his contract. MTM, the production company, held him to that final year. So he had to tough it out. Of course, it didn’t hurt that MTM provided him with Glen & Les Charles as the showrunners. They went on to create CHEERS and are arguably the best comedy writing team on the planet. And to his credit, Bob was gracious and lovely that final season. (Bob is always gracious and lovely).

From Chris:

If you have a scene that plays out in two adjacent sets, can you shoot it continuously if you block it well enough?

Yes. I once had a case where I shot a scene that was set in three places at once. This was on LATELINE, the sitcom starring Senator Al Franken. The premise of the series was a behind-the-scenes look at a news show like ABC’s NIGHTLINE.

The series was shot on film but I also had three tape cameras. When the “show” was on air live I had to cover it with the tape cameras so that when we went into master control there were the requisite variety of shots on monitors. So that’s two sets.

In this one scene a guest hadn’t shown up so a staff member calls him. We cut to him in a disco. I had a camera on him (at the complete other end of the stage). So that makes three locations, seven cameras rolling simultaneously.   I can’t believe I didn’t win an Emmy for that. Or get elected to Congress.

And finally, from Mark:

Were there ever any plans for an expanded role for Harry Anderson on Cheers before he got Night Court? I thought he was great as Harry The Hat.

When CHEERS began we were all still experimenting with the format. One idea was to populate the bar with colorful oddball characters like Harry. Eventually it became apparent that the show should focus on the core group. Harry was great but the thinking was that the character and scams would get old if we went to that well too often. It’s like the Bebe character on FRASIER. When used sparingly they really score and the audience is thrilled to see them.

We were all delighted that Harry got NIGHT COURT. He more than deserved his own show.

I’m also thankful he agreed to come back to CHEERS for the last Bar Wars episode (which David Isaacs and I wrote).  I believe Harry now lives up in Washington state and is quite happy. I’d visit but I’m afraid my watch would disappear.

What’s your Friday Question? You can leave it in the comments section. Thanks. And do check out that Joan Rivers documentary.   Some cable channel must be playing it, and I imagine it's available on Netflix, Hulu, or one of them.

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Sitcoms are hard

There seems to be a new trend in sitcoms – the knockoff Romy & Michele’s. Two single ditzy twentysomethings who sort of blunder through life. The difference is that the characters of Romy & Michele were carefully developed, well crafted, and there was a definite story.

BROAD CITY on Comedy Central, GARFUNKEL & OATS on IFC, and PLAYING HOUSE on USA are all very similar. Two comediennes who have worked together either as an act or a musical comedy team write and perform their own sitcoms. They’re all single-camera with a very loose format. Most of the dialogue sounds improvised, and occasionally they say some very funny things. But for the most part it’s just vamping. You’re listening to two people grope around in search of something genuinely funny.

So at times it’s forced and other times it’s vulgar for the sake of being edgy.

Now it can be argued that these new R&M-lite sitcoms are fresh because they don’t follow established rhythms, and the fact that the performers are somewhat amateurish is the great appeal. And that’s fine for five-minute webisodes.

But for my money, if I’m going to devote a full half hour I would prefer a great comic actress like Julia-Louis Dreyfus who has acting chops delivering lines from seasoned comedy writers who really know how to create stories, get the most bang for their buck out of comic situations, and can provide funny lines on a consistent not sporadic basis.

All three of these comedy teams are talented. I am a huge fan of Garfunkel & Oats’ songs. They’re funny, razor sharp, and inspired. But every word is clearly tailored. They didn’t just start riffing.

Abbi and Ilana from BROAD CITY are fresh faces, and it feels like they’re trying to do a funny GIRLS, but again, it’s so uneven.  Agreeing to clean someone's apartment half naked for $200 and then learning the guy can't pay, thinks he's an actual baby, wears a diaper, and has an accident is an example of their hilarity.    "Bad job.  Really bad job."

At least Lennon & Jessica on PLAYING HOUSE have a premise – they’re two friends trying to raise a child.

But in all of these shows, they could use some direction and creative guidance. Y’see, here’s the dirty little secret:




SITCOMS ARE HARD

Real hard. Real fucking hard. You can’t just point a camera at two amusing women and expect a successful sitcom. The characters need a purpose, the show has to be about something, there have to be relationships, the comedy must payoff, and you have to care about the people. Just stumbling through life, encountering quirky characters, and slipping on urine isn’t enough.

These shows all feel like they’re taking short cuts.

Maybe that’s the Faustian contract they have had to make. Their sitcoms got picked up simply because they are cheaper to produce. They don’t need big staffs. They don’t need elaborate sets or four days of rehearsal. “Let’s just do a scene where we go to a tax accountant with a bag of receipts and drive him crazy.” “Cool. Let’s do that.”

But I think for the stars, they’re doing themselves a disservice. Whether it’s true or not, it appears they’re settling. All three R&M’s have great potential. They’re naturally funny. And with time, some direction, and being really really tough on the material their shows could blossom. At the end of the day, you are competing against Julia-Louis Dreyfus, and Tina Fey, and Amy Poehler. Game on.  Do better. 

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See MIckey Mouse beat the shit out of a guy

Here’s another edition of Short-Attention-Span-Blogging.

100 A-List actresses’ nude photos have been hacked and posted on the internet. This has sparked much debate over violation of privacy, free speech, etc. Be honest. Did you try to find them? Of course you didn’t. However, “Jennifer Lawrence Photos” was the most searched item on Google yesterday. So you didn’t look but someone did.

Poor Kirsten Dunst was only 9th.

I do not have anything in “the Cloud.” Nude selfies of me I don’t mind getting out. But I don’t want anybody downloading my Gwyneth Paltrow Sings album.

This is HILARIOUS. From Russia. The greatest case of road rage EVER. Don’t fuck with Mickey or Spongebob.


I think the bobblehead craze is finally starting to run its course. The Dodgers gave out a Magic Johnson no-look-pass bobblehead and had a bunch left over. And now they’re planning a Babe Ruth-as-a-Dodger-coach bobblehead giveaway. Jesus. Why not Dodger Stadium parking lot attendants bobbleheads?

I’m flying to New York tomorrow. Really looking forward to it now that there have been three – count ‘em, three -- separate incidents of in-flights fights over reclining seats. The Friendly Skies, my ass. Note to airlines: This isn’t peanuts. You can’t eliminate legroom.

It’s a good thing Mickey Mouse wasn’t on one of those flights.

When someone Tweeted to Anna Kendrick that he was happy her iPhone wasn’t hacked in the nude scandal she tweeted back: Don’t worry, bro. It would just be photos of food and other peoples’ dogs anyway.

Here’s my fantasy football team: The Los Angeles Rams.

NOVEMBER MAN was not bad. It’s Pierce Brosnann playing James Bond as Daniel Craig but looking as old as Roger Moore. The plot is somewhat familiar – Ex-CIA agent pulled back in. Denzel’s done one, Kevin Costner’s done one, Liam Neeson has done six. There’s one coming out every month. This must be November's.  

The Labor Day Telethon is not the same without Jerry Lewis.  Where's the faux sincerity?  Where's the cheese?  Where's Wayne Newton?   

The Toronto Film Festival is this weekend as Hollywood flies 3,000 miles to see movies they could watch at their desk.

I’m sorry to all my Facebook friends – I don’t check for birthdays. So let me now just wish you a Happy Birthday (whenever it is) and remind you that mine is February 14th.  And I'll be hurt if I don't hear from you.

Labor Day ratings: HOUDINI whipped SAVE BY THE BELL’S ass. But that’s understandable. HOUDINI was on THE HISTORY CHANNEL and SBTB was on one of those fringe networks – NBC I think it was.

The most played song this year on oldies radio stations is “Sister Golden Hair” by America. And for the first time ever, the Eagles have been played more than the Beatles. Too bad Gwyneth Paltrow didn’t record in the ‘80s.

I’m very excited. Next week I’m directing an episode of INSTANT MOM written by Annie Levine & Jonathan Emerson.  It's a great script and my Fellini touches will only make it better. 

Retiring shortstop, Derek Jeter is being honored this Saturday at Yankee Stadium. As all Yankee fans know he leads the franchise in hits, games played, stolen bases, and also was the first man to walk on the moon, discovered penicillin, painted the Sistine Chapel, founded Apple Computers, and hosted THE TONIGHT SHOW for 27 years. I hope they get a good crowd.  Just to play it safe they should give away Babe Ruth-as-Dodger-coach bobbleheads. 

Talk about “too soon” – This is what comedian Max Alexander posted on his Facebook wall yesterday: As of now funny lady and comedic pioneer Joan Rivers, is on life support…So is her daughters career.   YIKES.

I’m the only person in LA who has not touched the Stanley Cup. Guys on Death Row are trading it for cigarettes.

I hate that the first week of college football, powerhouse nationally ranked teams play opponents like Death Valley Jr. Community College and Duncan Hines Cake Decorating Academy and beat the crap out of them 85-3. That’s not football. That’s organized bullying with a marching band.


Networks are starting to buy pilot pitches again. So if you’re a successful actor run in and sell your amazing life story about growing up in a family that lived in a house. Once all the actors have sold pilots, then writers are invited to pitch – probably in late November.

Now that Labor Day is over, let me be the first to wish you a Merry Christmas.   Get those lights up.  It's already September 3rd. 

And here's the best part of Christmas:  Allison Williams as Peter Pan for a live NBC special.  No wonder the Lost Boys are lost -- they're going to have a lot of confused excited hormones.

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The ultimate "too soon"

 Oops!
 
An occupational hazard for comedy writers:

Last week, in my review of the new Woody Allen movie I made a Joan Rivers joke. Later that morning, when I was away from my computer and couldn’t do anything about it, word came through that she was in critical condition. I since removed the joke but there it was for about six hours. I looked like the most insensitive human being on the planet. Forget that if anyone would find it funny it would have been Joan Rivers, still it looked like a cheap shot.

Obviously that wasn’t my intent.  And as I write this, I pray for her recovery. 

But those things happen. Comedy is in the specifics and sometimes you get burned as a result.

On CHEERS we always felt that in a strange psychic way we could be responsible for killing people. Here’s how: Let’s say we put in a Rose Kennedy joke. Sure enough, the night the episode airs NBC breaks in with a news bulletin that Rose Kennedy had just died. They then cut back to our show (already in progress) just in time for our Rose Kennedy joke.

So if someone would pitch a joke featuring an icon, four writers would chime in “Do we really want to kill him?”

And it doesn’t have to be an elderly celebrity for writers to get trapped. Just unfortunate luck. David Isaacs and I wrote an episode of THE SIMPSONS called “Saturdays of Thunder.” It was about a soap box derby, but there’s a sequence where Homer attends the National Fatherhood Institute. Within those scenes there was a plethora of Bill Cosby/father jokes.

Years later the show is in syndication. KTTV is the Los Angeles affiliate. They set their programming schedule weeks in advance. And again, there was nothing in the title to even suggest there would be mentions of Bill Cosby. Well, tragically, Cosby’s son dies, it’s all over the news, and sure enough, three hours later KTTV airs that episode. The station switchboard went nuts. We of course, felt terrible, but there was nothing we could do.

It’s a risk you take, and the alternative is playing everything so safe that nothing is funny. I guess the best you can do is be sensitive to it. Like I said, if someone is really getting up there you increase your odds of a faux pas, but in general you just have to cross your fingers. 99 out of 100 times you’ll make a reference and it’ll be fine. But when that one comes up, yikes. I imagine most long time comedy writers have experienced the same thing. All I can say is, it happens, it’s very unfortunate, and no disrespect is ever meant. We have enough guilt writing bad jokes. We don’t want to have blood on our hands too.

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Labor Day in Hollywood

NOTE: This is a re-post from six years ago.

 

Labor Day marks the unofficial end of summer. In the entertainment business it means this:

The movie industry resumes after three months of vacation. When agents submit spec screenplays there will be executives there to read them. (But only for a couple of weeks. The Toronto Film Festival is days away and they’ll all be gone for that.)

Your agent returns from his-or-her vacation. They rented a villa in Nice for a month and then met up with more successful clients than you, rented a yacht and cruised the Mediterranean, buying some amazing artwork along the way. Your vacation was an August weekend in Tucson.

Sitcoms are back in production. Show number three has just filmed and there is no script for show four. It goes into production on Wednesday. Pre-production began right after Memorial Day. What happened to all that lead time???

Showrunners on new shows are being bombarded with notes from nervous networks, studios, non-writing producers, actors, managers, and spouses.

Showrunners on new shows are also making those obligatory calls to the network crying that they’re not getting enough on-air promotion. They’ve seen one promo for their show while ads for STUDIO 60 are still running even though it’s been canceled.

Hour dramas are already way behind schedule. Upcoming scripts are being revised, slashing any scene that can’t be filmed in an hour.

Showrunners on ensemble dramas are receiving those calls from cast members’ managers complaining their clients aren’t getting as much to do as other cast members (whose managers are also complaining).

Network development people are a month into hearing pitches and they’ve heard the same one eleven times already. “What if we went home with the Joker and met his family?”

Writers who spent months preparing their pilot pitches only to be shot down in the first minute now scramble to come up with something else.

Oscar campaigns get sent upstairs for approval.

The Cedars-Sinai cardiac ward is reserving a couple of private rooms. October is just around the corner.

HAPPY LABOR DAY!

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