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.

For the "American Idol" finalists, there's been basement magic


The "American Idol" finalists will soon be working to arena audiences. Some of their big moments, however, also came in basements, to audiences of one or so. Here's the story I sent to papers:  


Sure, garages are nice for bands or start-up computer companies.
But some of music’s important moments happen in basements; just ask the top two
people in this year’s “American Idol.”

Jena Irene, 17, the runner-up. Two years ago,
she tried “Can’t Help Falling in Love,” the Elvis Presley song. “I remember
playing it for the first time in my basement for my mother and she cried for
the first time in a while,” she said. “I knew it was powerful, but didn’t know
if that was just because she’s my mother.”

Caleb Johnson,23, the champion. About six years
ago, he got a call from Josh Sawyer, a rock guitarist in his home town of Asheville,
N.C. “I went to his basement and sang for him,” Johnson recalls. “He literally
loved it. He invited his parents down to hear it.”

That was the start of something big. Johnson promptly sang
in the school talent show, getting a huge reaction after the first moments.
Soon, he was singing with Sawyer’s band, Elijah Hooker.

He was still doing that last year, he says, “playing shows
with the band three or four times a week,” when he auditioned for “Idol” … a
show he had tried twice before, never getting further than the top 24. This
time, he was never in the bottom three.

Now comes the next flurry. On Sunday, he’ll sing the
National Anthem in Washington, D.C., for PBS’ Memorial Day eve concert; three
days later, he’ll take Irene to her high school prom in Farmington Hills, Mich.
“I think I’m going to be up in the air all the time,” he said. Life can be a blur
for them. Just ask:

Irene why she made the unusual choice of letting
Johnson sing last, in the final performance show. She won the coin flip, but
thought it was about something else. “I wasn’t really listening, because I was
thinking of several different things.”

Or Johnson about “As Long as You Love Me,” his
first single. He said he was handed it just two days before he recorded it. He
calls it “just a fun song,” but expects his album (out Aug. 12) to be
differtent, with “really heavy, soulful, powerful rock ‘n’ roll.”

Irene also has big ambitions for her album, which she hopes
will include at least one song she’s written. First, she has to worry about her
prom. “I still don’t have a dress and I’m freaking out,” she said.

She calls Johnson “my best friend” and he praises her music
and her soul: “She’s so funny and sweet and full of love for people,” he said.

When she asked him to the prom, weeks ago, they didn’t
realize they would be the final two. But then both kept soaring. Johnson ranged
from the songs of power-rockers Rush and Led Zeppelin to doing the music of
Aretha Franklin, Adele and Lady Gaga.

Irene ranged from singing her own composition to scoring big
on love-song week with that basement song, “Can’t Help Falling in Love.” Her
mother, it turns out, isn’t the only one who likes it.

This "Idol" finale was easy to predict ... or maybe not

If you like epic rock -- the sort that digs deep and pushes hard -- this is your week. Caleb Johnson and Jena Irene provide a powerhouse pair on Tuesday and Wednesday; then the winner will sing at the National Memorial Day Concert (see previous blog) on Sunday. Here's the story I sent to papers:


As some people see it, this year’s “American Idol” finale
was inevitable.

Surely, Caleb Johnson and Jena Irene would be the final two.
“Their performances are so big,” said Alex Preston, who finished third. “I knew
deep-down it would be them.”

One of the two, at least, always seemed like a sure thing. “Caleb
is a very big, dynamic performer with a big, strong voice,” said Harry Connick
Jr., one of the judges.

Johnson, 23, started strong and has never been in the bottom
three. He fits all patterns, including geographic: He’s from North Carolina,
which has had two previous winners – Scotty McCreery and Fantasia. The 12 “Idol”
winners include nine Southerners plus Oklahoma and Missouri.

And Irene? She’s 17 and a Northerner, from Farmington Hills,
Mich.; and she almost was out early.

Viewers didn’t put her in the show’s top 10; she survived because
judges gave her one of the three wild-card spots. Only one other wild-card
person (Clay Aiken, 11 years ago) has reached the final night.

Early on, viewers plunked her in the bottom three, at the
edge of ouster.  “She just keeps comin’
back and comin’ back,” said Harry Connick Jr., an “Idol” judge who spotted her
potential early. “She just has that mystique,” he said. “I think I called her
the sleeper at the time.”

That mystique seems to involve confidence. Offstage, Preston
said, “Jena is just like one of the guys. She’s just fun to hang out with.” She’s
similar, he said, to Johnson, who’s “a super-cool dude.”

And onstage, Connick said, she keeps that assertiveness.
“Jena has such variety in her song choices and her performances, from ballads
to Benatar (rock belter Pat Benatar). She’s made some great decisions.”

Italian on her father’s side (her full name is Jena Irene
Asciutto) and French on her mother’s, she grew up comfortably in Detroit
suburbia, where both parents are business executives. Early on, she started
writing songs and singing with her band, Infinity Hour.

In Ashville, Johnson was singing with the rock band Elijah
Hooker and took two previous cracks at “Idol,” reaching the top 42 and the top
24. This time, he seemed destined for the top.

Last week, Irene was singing richly emotional songs and
Johnson was delivering furious, mike-stand-smashing rock ‘n’ roll. “It’s television
and people love (that),” Preston said. “It’s awesome, but I can’t do that.” He
knew then that it would be a Caleb-Jena finale.

“American Idol,” Fox.

Performances, 8-9 p.m. Tuesday, then viewers
vote; finale, 8-10:07 p.m. Wednesday.