Category Archives: Optimisal

The Colbert Report 2.0

This is late night check-in, a feature where I watch a full week of one talk show and discuss how it was. Last week I watched “The Late Show with Stephen Colbert”, from 9/8 to 9/11.

On Thursday night, during an interview with Joe Biden, approximately four minutes and thirty-five seconds went by without the sound of laughter.

Colbert allows this silence to happen. He doesn’t try to force banter that would stifle the conversation. Instead, he listens, as do we. The Vice President talks about his son, Beau Biden, who has recently passed away from brain cancer. Biden mourns his son with a kind of honesty and vulnerability you might expect to hear if you were eavesdropping on a private conversation. It was incredibly difficult to watch, fraught with emotion from a wound that’s barely healed. It was one of the boldest things I’ve ever seen on a late night television program. Despite its brevity (some of it was cut for broadcast, although you can watch the full interview online), it packed an emotional punch and left an impression about what it means to keep moving forward in the face of incredible loss. I can’t recall the last time a talk show allowed this much room for not only a guest to be so candid about their state of mind, but for the viewer to reflect on something so heartbreaking.

The aforementioned was the clear highlight in a week full of them during the premiere week of “The Late Show with Stephen Colbert” and a terrific sign of things to come. In a packed late night world, Colbert has already started to carve out his own territory, as evidenced by the groundbreaking Biden interview. Before its premiere, the expectations for “The Late Show” have been absurdly high, with all the popular questions rattling throughout the blogosphere – what will the “real” Stephen Colbert do? Will the format be different? Without his blowhard persona to grasp onto, will Colbert sink or swim?

Turns out we all had nothing to fear. Colbert is sticking to the long time late-night formula that has worked since Johnny Carson dominated the universe – monologue, desk piece, interview one, interview two, musical guest/comedian. And while that might seem disappointing to those who were hoping Colbert would completely re-invent the wheel, it begs the question of how in God’s name you could possibly pull that off?

What keeps this old format from seeming ancient is the way Colbert twists each segment to match his style. Yes, there was a monologue, but it was brief and devoid of topical jokes (“Did you see this? Did you hear this?”) that every other late night show includes. Instead, each night featured a few light jokes, quick anecdotes, some banter. No scripted bits, save for one night that featured a parade of famous NFL players making cameos as “new employees” of the show. It was the closest the show came to being flashy for the sake of being flashy. Colbert throws to the band, they perform the theme song, announce the guests, and Colbert sits behind his coveted desk.

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The Late Show Coasts To The Finish Line

This is late night check-in, a feature where I watch a full week of one talk show and discuss how it was. Last week I watched “Late Show with David Letterman”, from 5/11 to 5/15.

“People say to me – aren’t you gonna miss the applause and the laughter? Hell, I’m missing it right now.”

About two and a half minutes into his monologue on Wednesday, David Letterman tosses out this joke as if it’s an afterthought. The audience laughs, of course. Dave stands there and smiles. It’s a joke that doubles as a quietly sublime statement. At the risk of reading too much into it, I took it as both a sign that he will, indeed, miss doing his show. But even in the midst of his farewell shows – on stage, right now – the laughter doesn’t affect him the way it once did. The thrill is gone.

Which is a shame, because David Letterman is one of the best, and it’s sad to see him go. His legacy needs no fluffing, as evidenced by the many tributes and think pieces you’ll read this week concerning how he shattered the notion of what late night television could be. He was a visionary and a star to an entire generation of comedians, and without him the state of comedy would look very different.

It’s sometimes difficult to separate the “Late Night” years from the “Late Show” years (to clarify – he was the original host of Late Night on NBC before departing to CBS) because they represent two entirely different eras. The former was a showcase for comedy innovation – an anti-talk show that constantly challenged the viewer. Taken as a whole, his “Late Show” tenure saw a slight decrease in ambition. In his quest to beat Jay Leno in the 11:30 timeslot, some of the more batshit crazy elements that gave Late Night its charm were put out to pasture. But Dave was always there, always the aloof, quick-witted comedian he’s always been. And these days, you’d be hard pressed to find a machine as well oiled as the Late Show.

The point I’m trying laboriously to get to is that in his last full week of shows (his final three shows air this week, concluding on Wednesday), after a lifetime of hard work, Dave has earned the right to just kind of stand there and chuckle at the absurdity of it all. I perhaps picked a bad week to check-in on a show that’s on its way out, because it really did seem like the show was casually jogging to its big finale. At the top of Monday’s monologue, Dave does a few jokes on Tom Brady (every night featured a Deflategate joke) then, unsatisfied, says “Put down the cards, Tom.” He proceeds to riff on selfies and memoirs. “Kim Kardashian publishes a book of selfies, it’s cool. I publish a book of selfies, it’s creepy.”

It seemed that for most of the week, Dave just wanted to get down to brass tax and talk to the guests he handpicked to close out his run. This was more than evident during the desk piece, where he did a Top 10 list every night. I thought that Dave would really pull out all the stops and go back to the nostalgia bin to do some fun stuff, but either they’re saving it for the last three shows or they’re not even gonna bother. Every list felt like it was brainstormed an hour before the show (Top 10 Least Popular Thomas Edison Inventions, Top 10 Things Overheard at the Olive Garden Test Kitchen, etc.) The only interesting one is the extremely-meta Top 10 Thoughts Going Through Dave’s Mind While Presenting the Top Ten List, which includes the number one pick, “Johnny never had to do this shit.”

The best part of the show is when Letterman cuts loose. He’s truly at his best when he’s off-the-cuff and talking to people. He has an uncanny ability to just sit back at his desk and riff with ease, and this is when the Late Show begins to get entertaining. With a week full of stacked guests, there’s fun to be had. Dave and Howard Stern have a natural camaraderie (“What are you gonna do in Montana?” “I’m not going to Montana!” is the best running joke of the night.) Don Rickles shows up and does his Don Rickles thing. I honestly could have watched him and Howard Stern and Letterman riff all night. Adam Sandler performs a musical tribute via acoustic guitar, and it’s surprisingly earnest and funny. George Clooney handcuffs himself to Dave. “You’re not going anywhere. You’re not leaving,” George says. Dave looks at him, longingly, and says “You have beautiful eyes.” And the last guest of the week, Norm MacDonald, shows up and kills it with a brilliant stand-up set that ends with an amazing tribute to Dave.

Some guests are a bore, though Dave clearly enjoys their company and could give a shit about whether or not you care. Bill Clinton conducts his interview like a campaign stop; he seemed quite muted, as if he’s deliberating censoring himself from saying anything that could hurt Hilary’s campaign. I guess that’s par for the course when your wife is running for President. Julia Roberts shows up, and Dave is apparently very taken by her. Oprah talks about Africa, and then Dave starts getting bored and they discuss smoking pot and selfies.

And that’s that. At the conclusion of every show, Dave turns to the camera for a quick “Good night everybody.” I can’t even throw an exclamation mark in there because his voice never rises to that level. Letterman is a stone cold professional. He goes in, makes people laugh, he goes out. And that’s been the way he’s doing it for nearly thirty years. He is the last of the old guard to go, a veteran performer whose presence over the past few years has been taken for granted. Letterman has always been there, and soon, he will be gone. But even during a week of coasting to the finish line, he still finds a way to make it work. He can still turn it on when he needs to, and when he does, there’s simply nobody better than David Letterman.

Full Disclosure:

-You can still catch glimpses of the old Late Night absurdity shining through. George Clooney remains handcuffed to Dave throughout his interview with Tom Waits. And when Dave goes out for the monologue for the Friday show, Clooney is still handcuffed to him. (They tape Thursday and Friday on the same day.)

-My mom assures me that Bill Clinton playing sax on The Arsenio Hall Show was a huge deal.

-Dave, before going to commercial: “President Clinton everybody. We’ll be back with Adam Sandler.” I laughed really hard at this.

-Adam Sandler gives zero fucks about wearing a t-shirt and jeans in the Ed Sullivan Theater.

-Paul Schaffer doesn’t much to do other than conduct the band, but he seems like a genuinely good guy. He was a guest this week and got to tell old stories about James Brown and Bob Dylan.

-I did not watch Ryan Adams. I most definitely watched Tom Waits. His voice never ceases to amaze/frighten me.

-I ate clearly expired leftover pizza at eleven o’clock in the morning while watching the Oprah interview. I have no shame.

-If you’re gonna watch something from these shows, check out Norm MacDonald’s stand-up set. Also tune in for the last three shows airing this week, which I’m sure will be interesting. Tom Hanks on Monday. Bill Murray on Tuesday. No guests listed on Wednesday, which means it will be a parade of celebrities.

-Next time on Late Night Check-In: I have no idea. I’d like to do this once a month. I did two this month because I wanted to cover Letterman before he left. Look for another one sometime next month.

Is The Tonight Show Really That Bad?

This is late night check-in, a feature where I watch a full week of one talk show and discuss how it was. Last week I watched “The Tonight Show Starring Jimmy Fallon”, from 4/27 to 5/1.

The Tonight Show has taken a lot of flack over the past few years. Since the Conan-Leno debacle and the backlash against the latter, The Tonight Show is no longer the cultural touchstone it once was (when every conceivable adult in America gathered around a television to watch Johnny Carson.) Today, there are plenty of late night options to choose from with no real king – though it’s easy to argue that Jimmy Fallon could claim such a title. His incarnation of the show is currently the highest rated late night talk show. His YouTube channel has 7 million subscribers with nearly 3 billion total views and produces at least one viral video per week.

A lot of comedy nerds will tell you The Tonight Show is crap. There’s no comedy, it’s just a bunch of meandering games, etc. Andrés du Bouchet, a long-time writer for Conan, recently caught some heat for tweeting about his dissatisfaction regarding the aforementioned. “Comedy in 2015 needs a severe motherfucking shakeup,” he said in a now deleted tweet. “No celebrities, no parodies, no pranks, no mash-ups or hashtag wars. I’m fat.”

So how much of that is accurate? The current incarnation of The Tonight Show features a regular dose of celebrity-based comedy, parodies and mash-ups. There’s few pranks and certainly no hashtag wars but the show does feature Tonight Show Hashtags (we’ll get to that later.) How much of this is pandering to the audience and how much is actual comedy? What’s to be expected when you watch a full week of The TonightShow?

First things first. Jimmy Fallon has come a long way since his nervous, jittery Late Night debut six years ago. He’s now a seasoned performer with all the chops necessary for being a talk show host. Like all good talk show hosts, he’s crafted a niche for himself. Fallon is an entertainer, ideally one for the whole family. He’s immensely positive and likable. It’s hard to hate a guy who wants the audience both at home and in studio to have fun. Both the show and its host are completely devoid of cynicism.

His monologue at the top of the show is quick, efficient and confident. Like Conan, Fallon tends to act out things at the end of jokes. His chameleon-like impressions can elevate a joke further or even save a particularly bad one. He’ll riff and improvise with his sidekick, Steve Higgins, and it’s usually pretty good. And anytime The Roots chime in, it’s just icing on the cake.

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The Conclusion of Parks and Recreation Marks the End of an Empire

Once upon a time, NBC had a comedy lineup that looked a little something like this: Community, 30 Rock, The Office, Parks and Recreation. That’s a murderer’s row of sitcoms that were consistently brilliant. Each one of these shows will end up in the comedy museum of all-time greats. They will influence an entire generation of fans and writers. Mission accomplished? Not for NBC. Since the ratings behemoth Friends went off the air in 2004, NBC has tried and failed to recreate the magic of Jennifer Anniston gallivanting in Manhattan. Instead, they accidentally green-lit a handful of low-rated, critically acclaimed gems with incredibly loyal fan bases. Each show made money, but not enough to satisfy NBC, the network that once ruled the world. Tomorrow night, Parks and Recreation will air its series finale, and the NBC comedy empire will come to an end.

NBC’s dedication to create a comedy “hit” has resulted in a long line of one-season blunders. Rather than try and build something that would at the very least command some respect, NBC aimed low (“Not low enough,” Chuck Lorre said, laughing atop his pile of money.) The premises for these shows are abysmal. It’s confounding that anyone thought it would make a good television show. To name a few, in alphabetical order: 1600 Penn (“What if a dysfunctional family…” a young, hopeful writer said. “Lived in the White House?”), Animal Practice (“It’s like Scrubs, but with a monkey!”), Bad Judge (“What if there was a hard partying, tough-as-nails judge…that was a GIRL?!”), Free Agents (“What if two PR executives divorce something something Hank Azaria?”). You get the idea.

bad-judge

Look, networks fuck up all the time. They order terrible pilots to series. It’s been this way for a very long time. But NBC’s dedication to consistent failure has a lot to do with their quest for ratings – their desire to create a “hit” on the scale of The Big Bang Theory, or perhaps make it 1997 again through science or magic [1]. But in the fractured landscape of television viewing, hits are becoming increasingly rare. It’s become impossible to predict [2] what will become a ratings giant. The best you can hope for is a lineup that NBC had; the one seen above. The low rated[3] misfit shows breaking the mold for what single-camera comedy could be after Arrested Development set sail.

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In Defense of Billy Eichner

I had a conversation with a friend of a friend recently who was not from around here. That is to say, she wasn’t from America at all. She grew up in South England and this was her first trip to New York. She informed that while she grew up on a steady diet of American pop culture, she was no expert on the subject and felt very lost in New York City (“It’s nothing like Sex in the City,” she informed me.) She was telling me about how she couldn’t quite describe Manhattan in relation to other cities she had visited, how Manhattan felt like so many places at once, a complicated puzzle nobody could solve, and I informed her that trying to summarize New York City is a fool’s errand. She then asked me what movies or TV shows felt best captured the essence of New York City, and it sent my brain into a tailspin. A lot of things popped up at once. Some were obvious answers. Most Woody Allen films, for starters. Taxi Driver, Dog Day Afternoon, The French Connection. Then you got your TV shows, all of whom do the city justice. Seinfeld, of course. 30 Rock is a staple. Broad City is brilliant and captures the essence of being young, lost and stoned in New York City (unlike it’s melodramatic cousin Girls.) It seemed like a great recommendation, until I remembered Billy on the Street. At first, it seemed like a game show with such games as “Rapper or Nic Cage character?” doesn’t quite fit the profile, but Billy Eichner sure as hell does.

Billy Eichner yells. He yells a lot. It’s his thing. His shtick, as far as most people are concerned (“The best part of that is when you scream at me,” declared David Letterman with zero irony after playing a game with him entitled “Celebrity Child or Kentucky Derby Winner.”) In his game show and most of his media appearances, he asks trivia questions related to pop culture. Though it starts with a calm explanation, it frequently escalates into comedic explosion as Billy grows frustrated with the participants lack of knowledge. He has other moves in his comedy toolkit yet people seem to focus only on the fact that, yes, Billy Eichner yells a lot, and your amusement of this may vary.

His profile has increased dramatically in the past year. The third season of Billy on the Street aired and featured a murderer’s row of special guests (Olivia Wilde, Neil Patrick Harris, Paul Rudd, to name a few.) He’s done rounds on pretty much every major talk show in America. He has a recurring role on Parks and Recreation. His new show, Difficult People, an Amy Poehler-produced comedy starring him and Julie Klausner, was picked up for a full season on Hulu and will debut next year. He had a featured bit at the Emmys that killed and was perhaps the only saving grace in an otherwise bland evening of typical award show charades.

Despite this, Billy has caught a lot of unnecessary flack. There are people who call out his shtick, persona, whatever you want to call it. It’s grating. It’s annoying. It gets old fast. Not that we should ever live our lives by YouTube comments (or even look at them to begin with), but for every ten comments that are positive, there’s at least one negative person typing “this faggot isn’t funny.” I really don’t think Billy Eichner is disliked because he’s gay, though there are certainly some homophobic ass holes out there who beg to differ. I don’t see straight people, specifically males, watching Billy Eichner and thinking “Well, he’s gay, and I’m straight, so I can’t actively watch this guy.” I’m pretty sure we’re getting better on that front. Most Americans aren’t looking at it through that viewpoint.

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