This summer, Eric Dane (and others) safe the world

This Sunday (June 22), TV overloads with new shows and new seasons. It has debuts ("Rising Star," "The Last Ship," "Musketeers"), season-openers ("True Blood," "Wifeout," "Falling Skies"), a terrific movie ("Miracle Landing on the Hudson") and the second half of a smart mini-series ("The Escape Artist," via "Masterpiece Mystery"). All of that is summed up in the Sunday column (click "TV column," above); now let's stop and visit "Last Ship" and its star, Eric Dane. Here's the story I sent to papers:


Often enough, TV characters are content to catch a crook or
two. This summer, the stakes have soared.

There is Jack Bauer (Kiefer Sutherland) on Fox’s “24,”
trying (again) to prevent a war. And there are two TNT series Sunday, each trying
to preserve the human race.

On “Falling Skies” (with the season-opener at 10:03 p.m.), Tom
Mason (Noah Wyle) battles outer-space aliens; on “The Last Ship” (debuting at
9), a virus has swept across the globe.

“Society has broken down, the majority of the world is suffering,”
said Hank Steinberg, a co-writer and producer. “And there’s this lone ship of
survivors, led by a captain who has to keep alive his humanity.”

The ship (and Captain Tom Chandler, played by Eric Dane)
happen to be large and impressive. Early scenes were shot on what producer/co-writer
Stephen Kane calls “a $3-billion set,” a Navy destroyer.

“It was enormous,” Dane said, “900 feet long – big in its
depth and its length.” Only the inside headroom, he said, felt small “for
someone who is 6-foot-2 to walk around.”

And in a way, that ship dictated his life and career. Dane,
now 41, had just done his final “Grey’s Anatomy” episodes (the first two of the
2012-13 season) and planned to slow down. “I was going to hang around with my
family” – his wife (actress Rebecca Gayheart) and their daughters (now 2 and

Then? “A few weeks later, we started shooting (the pilot),
as a result of the availability of the ship,” Dane said. And then “there was a
year in between shooting the pilot and starting up with the series.”

It’s sort of the hurry-up-and-wait life familiar to military
people and to actors.

As a kid – a water-polo star whose dad was an architect and
interior designer -- Dane hadn’t thought about acting, he said. “Living in
Northern California, Hollywood seemed a million miles away.”

But in high school, he got a chance to play one of the great
theater roles – Joe Keller, the guilt-ridden dad in Arthur Miller’s “All My
Sons.” He soon landed some little TV roles, then recurring ones in “Gideon’s
Crossing,” “American Embassy” and “Charmed.” He was mostly unknown when “Grey’s
Anatomy” cast him as Dr. Mark Sloan. “It was supposed to be one episode,” Dane

It turned out to be six years and fan-magazine fame. He left
the show (staying long enough for Sloan’s lingering death), then stepped into a
classic captain’s role.

He’s in the middle of what Michael Wright, the TNT
programming chief, calls “a big, fun, exciting action-adventure series.” It has
strategy debates, with Adam Baldwin as second-in-command, and medical rush, with
Rhona Mitre as a paleo-microbiologist, setting up her onboard lab to try to
create a vaccine. It also has military action, Steinberg said, with “people
chasing them who want to get that vaccine.”

And it has Captain Tom Chandler, trying (like Jack Bauer and
Tom Mason) to save the world.

“The Last Ship,” 9 p.m. Sundays, TNT; debuts
June 22, rerunning at 11:05 p.m.

Opener reruns at 11:03 p.m. Wednesday (June 25),
11 p.m. Saturday (June 28), 9 a.m. June 29.

Opener also airs at 11:01 p.m. June 26 on Tru


Cliff Curtis: From a small island to global characters

The list of famous Maori actors is relatively short. There's Keisha Castle-Hughes (no relation to me, or to Cinderella's Castle), an Oscar-nominee in the immensely charming "Whale Rider." And there's Cliff Curtis, who played her father in that one ... then played just about everyone, everywhere. Curtis has become a fascinating actor, spanning the globe. Currently, he's in Fox's "Gang Related"; here's the story I sent to papers:


Cliff Curtis has spent much of his career inside other
people’s worlds.

He’s been Italian and Greek, Russian and Arabian and
Hispanic. He’s ranged from a doctor and a prince to a Colombian drug lord and
(currently, on Fox’s “Gang Related”) a Mexican-American crime boss.

And yes, he said, that range is necessary. “If … my strategy
(was) to wait for roles that were cast around my (Maori) ethnicity, … that
would be slim pickings.”

The Maori, the native people of New Zealand, don’t usually
show up on movie screens. A key exception was “Whale Rider” (2003), about a
headstrong Maori girl. Curtis, who played her dad, wasn’t expecting it to be
noticed. “I just thought, ‘It’s nice to come home and play a character who’s
like me.’”

Then the film soared. It won awards in six countries,
including American ones from the Sundance festival, the Independent Spirit
Awards and the National Board or Review.  Soon, Curtis was up for top roles, including
Javier Acosta. “We needed a force of nature to play that role,” said Scott
Rosenbaum, a “Gang Related” producer.

At first, Curtis imagined a back story, with Javier emerging
from a troubled childhood. The writers apparently agreed; this week’s fifth
episode has a quietly moving monolog about his troubled past.

And in some ways, Curtis said, that’s similar to his real roots.
“When I was 12, I wound up as a ward of the state …. I left school at 14. I
could have easily gone into” a rough life.

Instead, he found performing. As a boy, he had done traditional
Maori dancing, his father’s specialty; as a teen, he did break-dancing, rock
‘n’ roll dancing and theater. “I just fell in love with the idea of telling
stories,” he said.

Shows ranged from musicals to Shakespeare, preparing Curtis
for complexities that would follow: “I had to get a voice coach,” he said.
“I’ve had to re-train (my) mouth. At first, I couldn’t roll my ‘r’s.”

More important are the complexities of character. Chris
Morgan created “Gang Related” with an earnest young cop secretly working for
Javier, a man of warmth and brutality. “Every hero has a dark side,” Morgan
said, “and every villain has something heroic.”

Curtis is used to such complexities. This role also requires
him to deal with:

Age. He’s 45; Jay Hernandez, playing his younger
son, is 36.

Language. Most scenes are in English, his native
tongue, but there are “entire scenes in Spanish. And then they do those changes
….You’re walking on set; you’ve learned three pages of Spanish and they start
tweaking it.”

Life is tricky that way, when you span the globe and step
into alternate lives.

“Gang Related,” 9 p.m. Thursdays, Fox.

The June 19 episode is also set to rerun at 9
p.m. Friday, June 20.

Living a lie? For actors, that's no stretch

At one of his first auditions, Leonard Nimoy did something bizarre: He told the truth.

Asked if he knew how to ride a horse, Nimoy said no. Somehow, he got the job anyway, maybe because he was the only guy who didn't lie about it.

One actor, Richard Tyson, recalled being asked if he could ride. "I said, 'I'm from Alabama?'" He is, but that doesn't make him a cowboy, he later told reporters. "My daddy's a lawyer."

This actor-ly trait is one of the things that has made "Suits" so interesting for Patrick J. Adams: He plays a character who spent three seasons doing what actors do naturally -- lying about his qualifications and then scrambling to keep up. Now the show is starting its fourth season (Wednesday, June 11) and is making a key change. Here's the story I sent to papers:



For three “Suits” seasons, Mike Ross kept barely slipping
by. At an upscale law firm, he convinced people that he’s a Harvard Law School

Now, finally, that’s been set aside; the fourth season has
Mike working for a finance firm and dealing with his old bosses. “It’s
re-energizing for me … like a new job,” said Patrick J. Adams, who plays him.

Still, those first seasons were fun, with an exaggerated
version of anyone who has felt underqualified. “I think that’s why people
connect to Mike,” Adams said. And for actors, it all seemed realistic.

The notion during auditions is to say you can do anything.
Sure, you can ride a horse … swim … walk on stilts; then you try to learn
before filming begins. And Adams once tried that out, big-time.

There he was, a Canadian kid who studied theater at the
University of Southern California. Summers in Los Angeles were “sort of
soul-crushing,” he says, but he heard about dealing blackjack in the Yukon.

“I knew they wouldn’t hire me if I said I didn’t have any
experience,” Adams said. “I stayed up all night studying. Then I said I’d had
all this experience and had worked on cruise ships and everything.”

He got the job and had a fine summer; still, he understands
the fidgety feeling of being out-of-place.

Adams recalls introducing “Suits” producer Doug Liman at a
conference (started by Liman’s late father) for public-interest lawyers. “It’s
the cream of the crop. (I) felt exactly like Mike Ross would feel in this room –
no idea what I was doing there, scared …. I don’t even play a lawyer on TV; I
play a fake lawyer.”

It was a lesson in merely pretending to belong. “We all have
to put on this mask of confidence.”

In show business, masks are common. For actors – who tend to
be loose and creative – wearing a suit and tie can be a transformation. “Just
being in those clothes does something sort of really rigid,” Adams said. “It’s like
putting on a suit of armor …. It’s completely different from our normal lives.”

Inside one of those suits, Gabriel Macht plays Harvey Specter,
intense and imposing. In real life, said Meghan Markle (who plays Rachel Zane),
Macht often gets “a bit of the giggles.”

Colleagues describe the “Gabriel giggles,” which Macht doesn’t
dispute. “I find life in general very funny. I feel like we are all a bunch of
monkeys and I’m laughing at all of us. My attention span is very short.”

Macht, 41, certainly seems to have a pleasant life. As the
son of busy actor Stephen Macht, he grew up in Beverly Hills; he’s been married
for a decade to Jacinda Barrett, the actress who became famous as a breezy
Australian import in “Real World: London,” and they have two children.

Adams, 32, also seems to be thriving. Show business, he
said, lets him know “incredibly creative and engaging people.” Of late, he was
directed by Oscar-nominee Agnieska Holland (in the “Rosemary’s Baby” remake) and
he became engaged to Troian Bellisario, the “Pretty Little Liars” star who is
the daughter of two TV producers. And now there’s this “re-energized” year of “Suits.”

“Suits,” 9 p.m. Wednesdays, USA, rerunning at

Season-opener, June 11, also airs at 11 a.m.
Saturday and 11 p.m. Sunday.

Bochco's back ... so is quality cop drama

It's definitely good to see Steven Bochco back to producing TV shows -- and to doing the kind of quality he shows with "Hill Street Blues," "L.A. Law" and "NYPD Blue." The opener of his new show, "Murder in the First," is a gem; here's the story I sent to papers:


It was a time before Tony Soprano or Walter White, before
Don Draper or Carrie Mathison or all those zombies and vampires and

“Dallas” and “Dukes of Hazzard” led the Nielsen ratings. No
one called this a golden age of TV drama.

And then, in January of 1981, “Hill Street Blues” debuted,
interweaving cop stories that included richly crafted characters. “It became
very clear to us – when we survived the first year of that show – that we were
showing viewers a different way to watch and appreciate television,” Steven
Bochco recalled.

The notion of quality drama boomed, faded, then returned via
cable. And now Bochco, 70, is part of it again; “Murder in the First,” rich in
character depth, is his first series in five years. He credits Michael Wright,
the TNT programming chief, for “rescuing me from obscurity.”

Wright suggested a series that follows a single murder case
for the entire season. Cable shows – led by “The Killing” and “True Detective” –
have done that lately, but Bochco was first, back in 1995.

The difference: Cable seasons are shorter -- “Murder in the
First” will be 10 weeks – but his “Murder One” was 23 weeks. “Over that many
episodes, you are really struggling to make every hour sustain itself in the
service of a single storyline,” Bochco said. “Ten episodes, or 12 (may be) ideal.”

That still leaves room for rich characterizations. This
time, the cop cliché – a guy with a failed marriage and a chaotic life – has been
flipped around:

The male cop (Taye Diggs) has a warm marriage,
but his wife is dying. “What really sparked to us,” said Eric Lodal, who
created the series with Bochco, “was this idea of a man in the prime of his
life, who suffers a devastation … that would be like starting over.”

The female cop (Kathleen Robertson) has the
chaos, including an ex-husband anxious for his alimony check. “My
brother-in-law is a police officer in Toronto and it’s pretty accurate …. What
these people have to deal with professionally (becomes) personal,” Robertson

Then there are the suspects, starting with a tech
billionaire (Tom Felton) … a guy so vile that he might make even Felton’s
previous character (Draco Malvoy in the Harry Potter films) seem sweet. It’s
the sort of rich detail Bochco and colleagues have been known for since “Blues”

“It really was the first time, at least in my career, that
people were proud to say, ‘I’m a writer in television’ …. David Milch, Tony
Yerkovich and all of us did have that sense,” Bochco said.

Yerkovich went on to create “Miami Vice,” Milch to create “Deadwood,”
Bochco did many things. He triumphed with “L.A. Law” and (with Milch) “NYPD
Blue,” had bold failures like “Cop Rock” and mild successes, most recently with
TNT’s “Raising the Bar.” He won 10 Emmys … then seemed to fade out. “I remember
when I used to be the youngest guy in the room, you know, and now I’m the

But now he’s back in the room, with a new-old concept that
bears the Bochco quality.

“Murder in the First,” 10 p.m. Mondays, TNT,
rerunning at midnight

Opener, June 9, also runs at 11:01 p.m.
Thursday, 9 a.m. Saturday, June 14

"The Sixties": A chaotic decade stirs our affection

As the 1960s were unfolding, everything seemed bigger, brasher, more chaotic. Now, more than 40 years after it ended, the decade keeps providing compelling documentary TV. The latest example is "The Sixties," which debuts Thursday (May 27) on CNN. It's opener (about TV) is fairly interesting, but too crowded; many of the hours that follow are compelling. Here's the story I sent to papers:


It was a messy decade, full of dissent, disruption and
dismay. Still, people recall the 1960s fondly.

 “The affection that
people have for this decade is amazing,” said Mark Herzog, a producer (with Tom
Hanks and Gary Goetzman) of “The Sixties,” a documentary mini-series debuting
Thursday on CNN.

That affection isn’t just from those who were in the midst
of it. “I can’t believe the number of (younger) people who have said to me, ‘I
was born in the wrong era,’” said Herzog.

Affectiion? This was a time of rage over Vietnam and racial
bias … terror over the Manson murders and the Cuban missile crisis … shock over
the Bay of Pigs debacle and assassinations.

Events seemed bigger, broader, more dramatic, causing Herzog
(born in ’62) to ask why this time was so different. Writer Tom Wolfe, he said,
called it a combination “that only happens once,” when a new generation had the
time and affluence to question everything; the results varied:

The fastest changes came to things the new
generation could influence directly. Music was transformed – and not just by
one group. “Yes, the Beatles were the spark,” Herzog said. “But the Dave Clark
Five and the Rolling Stones and a lot of others were also big.”

The slowest changes involved things the older
generation ruled, especially primetime television. The Nielsen ratings for
1968-69 did have a show with a fresh style (“Laugh-In”) at No. 1 and one with a
black star (Diahann Carroll’s “Julia”) at No. 7; still, there were no other
black stars and few other distinctive shows. The No. 2 through 6 spots on the
Nielsen list went to two cowboy shows plus “Mayberry,” “Gomer Pyle” and “Family

And the biggest clashes came when the
generations collided – especially on Vietnam and civil rights. That’s where TV
– the subject of Thursday’s opener – stood out.

Unlike the networks’ bland entertainment divisions, news
departments turned serious. They dominated Kennedy-assassination coverage and gave
civil-rights protesters a national focus.

Leaders knew how to get attention, Herzog said. “They were
very careful to go into areas where they would spark” visual conflict. At
first, he said, civil rights marches in Birmingham, Ala., drew little reaction.
Then cameras showed police chief Bull Connor countering marchers with dogs and
fire hoses.

That was in May of 1963. Three months later, CBS was the
first network to double its newscast to a half-hour. By 1965, Morley Safer was
opening its Saigon bureau and bringing intensity to Vietnam coverage.

The decade was recording itself, Herzog said. “I was
surprised by the sheer amount of footage that is out there …. There were
copious amounts of great news footage and documentaries.”

And there was audio of Lyndon Johnson in the White House. He
was often a master; the documentary replays him steamrolling Sen. Richard
Russell into joining the Warren Commission.

And he was sometimes overwhelmed. Johnson, Herzog said, had
“a lack of commitment to the Vietnam War … but also a lack of knowing how to
get out of it.”

So the war continued, shaping a high-energy time that is
often viewed with affection.

“The Sixties,” 9 p.m. ET Thursdays, CNN,
rerunning at midnight and at 8 and 11 p.m. Saturdays.

The opener – “Television Comes of Age,” May 29 —also
runs at 10 p.m. and 1 a.m.

Two of the episodes – on the President Kennedy
assassination (June 12) and civil rights (June 26) are two hours; others are
one hour.

The assassination episode and the one on music’s
“British Invasion” (July 10) had advance airings on CNN; the other eight are new.

Others deal with Cuban crises (June 5), Vietnam
(June 19), space (July 17), the year 1968 (July 31) and “Sex, Drugs and Rock N’
Roll” (Aug. 7). On July 24, “The Times, They are A-Changin’” views the surge of
feminism, civil rights, gay rights, conservatism, environmentalism and more.