The "SCTV" folks are up "Schitt's Creek" (in a good way)


OK, not everyone will love "Schitt's Creek." It has a droll style -- sometimes very quiet, sometimes very Canadian -- that some people will ignore and some will love. I find it hilarious ... and a delight to find on a network (Pop) that, when it was the TV Guide Network, was terribly easy to ignore. Here's the story I sent to papers:

By MIKE HUGHES

It was almost 40
years ago that young Canadians started a rag-tag TV show.

“SCTV” would
limp along for six mini-seasons (under four different titles),
getting little money and huge praise. Many of its people – John
Candy, Rick Moranis, Harold Ramis, Martin Short – would become
movie stars; most have stayed in the TV/movie universe.

Now two enter an
unexpected place: Eugene Levy and Catherine O'Hara star in “Schitt's
Creek” on Pop, which used to be the TV Guide Network and used to be
rightfully ignored.

The network is now a
land of reruns, reality and old movies, mostly aimed at passionate TV
fans. Brad Schwartz, the Pop programmer, admits he wasn't expecting
to have a major series this soon. Then “this dream of a show came
to us and it was a scripted comedy with talent that our audience grew
up with.”

Those two people
were opposites in their “SCTV” days.

Levy was the quiet
one with droll wit. He “would spend a lot of time writing very
focused pieces that usually made a subtle point,” Ramis said in
Dave Thomas' “SCTV” (1996, McClelland and Stewart).

O'Hara was the zesty
one, sometimes showing up without sleep and creating a comedy rush.
“Other than Marty Short, no one else on the Second City stage made
me laugh so much,” Joe Flaherty said in Thomas' book. “(She had
a) twinkle in her eye and a wit that was as unpredictable as a
tropical storm.”

These contrasting
souls didn't share many “SCTV” sketches, O'Hara said. “We
didn't really work together as a team until the Chris Guest movies,
and then we played husband-and-wife a few times.”

They'd been in in
big-money movies – O'Hara in the “Home Alone” films, Levy in
the “American Pie” ones – and in obscure ones. Guest cast them
in at least four eccentric films, including “Best of Show.”

Then the new idea
came from Eugene's son. “I've known Danny as a baby,” O'Hara
said.

He was born in 1983,
when “SCTV” was in its final incarnation, and performed often in
school. “I would offer my help ... and he would say, 'No, I got
it,'” Eugene recalled.

Dan went on to host
talk and comedy shows for MTV Canada. Then, he says, he “started
thinking about ... a wealthy family losing its money. I felt like
this could go in two directions, (a noisy comedy) or it could be
played very real, and that's when I thought of my dad.”

Understated comedy
seems to be a Levy specialty. “We had never worked together,”
Eugene said. When they finally did, “it dawned on me that he is
exceptionally talented.”

The show starts
after the Rose family's accountant has vanished without ever paying
taxes. Soon, the Roses are stripped of everything ... except what the
government doesn't want, a deed to a town the dad bought because he
thought the name (Schitt's Creek) was funny. Now they must move
there.

Predictably, Eugene
Levy and O'Hara play the parents, with Daniel as their son. Less
predictably, Daniel's sister is played by Annie Murphy; his real-life
sister Sarah plays a local waitress. Other locals are led by Chris
Elliott as Roland Schitt, the mayor.

Backed by a big
Canadian network (CBC) and a small American one (Pop), they spent two
months in a Toronto studio and a month in Goodwood, an Ontario town
of 600. They were sort of on their own.

“A lot of writers
have sold pilots,” Dan Levy said, “and they go through the system
and suddenly what comes out is not what they had intended. (But)
we've made the show that we intended to.”

This was a little
like the old days, O'Hara said. “It felt like we had great
freedom.”

And four decades
ago, that type of freedom created an eccentric comedy classic.

-- “Schitt's
Creek,” 10 p.m. Wednesdays, Pop (formerly TV Guide Network)

-- First two
episodes air Feb. 11, rerunning at 11 p.m.; they also run at 11:30
a.m. Thursday; Friday night at midnight (technically 12 a.m.
Saturday); Saturday night at 12:30 a.m.; Sunday at 3:30 p.m.

-- On Feb. 18, those
two episodes air at 9:30 and 10:30 p.m., surrounding the third
episode.

 

 

Want a romance writer? This one is 450 years old


For a guy who died almost 400 years ago, William Shakespeare keeps stirring interest. Now this year's final chapters of "Shakespeare Uncovered" ponder three classic love stories -- an appropriate subject as Valentine's Day nears. Here's the story I sent to papers:

By MIKE HUGHES

As Valentine's Day
nears, people might debate which writer created the ultimate romance.

Here are three
possibilities – Shakespeare, Shakespeare or ... well, Shakespeare.

His passionate
“Othello,” “Antony and Cleopatra” and “Romeo and Juliet”
are pondered in the final shows of this season's “Shakespeare
Uncovered” series, on PBS. “Any other playwright would have been
happy to write one of those love stories,” said Richard Denton, who
created the series. “This man wrote all three (and more) --
profoundly different love stories.”

Well, the three do
have one thing in common – a grim ending. Sorry for the spoiler,
but five of the six lovers commit suicide (albeit sometimes due to
false information); the sixth is smothered by her lover.

Beyond that, the
tales contrast sharply, as the “Uncovered” hosts (who have
starred in the plays) attest:

-- Romeo and Juliet
were teens. “It's a young person's play,” said Joseph Fiennes
(who also starred in “Shakespeare in Love”). “It's all about
sex and violence and young generations seem to be into that.” And
no, he said, this isn't just puppy love. “The language itself is so
grown-up, so explicit, so sexual.”

-- Mark Antony was,
by standards of the time, an old man. In real life, he was 43 when
Cleopatra (then 29) bore his twins, 53 when the lovers died. “Antony
was over,” Kim Catrall (“Sex and the City”) said. “In 'Julius
Caesar,' he's still this verile man, this leader, this hero. But
(now) it's past him.”

-- Othello and
Desdemona were somewhere between the extremes – recently married
and in love ... up to the moment he (stirred by his aide's lies)
killed her. “It is the love that makes him extremely vulnerable,”
David Harewood (“Homeland”) said. “This is a man of war who has
never experienced tenderness .... It is a beautiful love story that
goes horribly wrong.”

For some of the
plays, the love is still being debated. Catrall was startled to hear
that Vanessa Redgrave – who has frequently played Cleopatra or
directed the show – feels her “love” was merely political.

Cattrall agrees that
Cleopatra was capable of schemes. “She was a brilliant, brilliant
woman. She spoke over seven languages, was the only Ptolemy (the
Greeks who ruled Egypt) who actually spoke Egyptian .... She brought
libraries to Alexandria. She was truly a pioneer.”

Still, Cattrall
insists, “she did love him in my interpretation of playing
Cleopatra.”

Other debates have
spanned the centuries. They include:

-- Whether one man,
of modest education, could have written 37 plays – many considered
masterpieces – in 21 years. There were occasional bits of
collaboration, Denton said, and historical works were used as
sources. Still, “there's not a shred of evidence” that someone
else wrote the plays. That was “a weird 19th-Century
idea started by a disappointed religious man with a lovely name of
Looney.”

-- Whether Othello,
an African general in the Venetian army, could be played by whites.

Many have tried.
Orson Welles' 1952 film won the top Cannes Film Festival prize;
Laurence Olivier's 1965 performance received an Oscar nomination.
Olivier used jet-black make-up and an exaggerated walk, Harewood
said. “He tried to become this animalistic black creature and it's
just ridiculous.”

It wasn't until 1997
that Harewood became the first black to play Othello at the National
Theatre in London. “Just before I went onstage, the enormity of
what I was about to do kind of hit me,” he said. “I completely
forgot my lines. And I had to compose myself and just walk on there.”

He was stepping into
one of the world's eternal love stories.

-- “Shakespeare
Uncovered,” 9 and 10 p.m. Fridays, PBS (check local listings)

-- Feb. 6: Morgan
Freeman on “The Taming of the Shrew”; David Harewood on “Othello”

-- Feb. 13: Kim
Catrall on “Antony and Cleopatra,” Joseph Fiennes on “Romeo and
Juliet”

-- Previously, Hugh
Bonneville on “A Midsummer Night's Dream,” Christopher Plummer on
“King Lear”; for past episodes, including the first season, see
www.pbs.org.

 

 

Feel out of place? Eddie Huang can relate to that


Eddie Huang is sort of an expert on feeling out of place. He felt that way as a kid in Orlando; he may feel it now, as a tough, hip hop chef, watching his oft-angry book be turned into a genial ABC comedy. That show -- which debuts twice Wednesday (Feb. 4), then moves to Tuesdays -- is an amiable creation ... albeit sharply different from Huang's book. Here's the story I sent to papers:

By MIKE HUGHES

On a map, the move
from Washington, D.C. to Orlando seems modest. It's 847 miles
straight down; you never even switch time zones.

But to Eddie Huang,
this was like going to another country, another planet, another
century. “You are very alone and isolated,” he said.

It's the stuff of
tragedy and/or situation comedy. And it's the core of ABC's new
“Fresh Off the Boat.”

Back in 1993, when
he was 11, Huang says he savored the neighborhood feeling of
Washington, D.C. “I had three sets of cousins within a
quarter-mile. I could ride my bike to their house.”

But his father had
already been in Florida, taking over a restaurant. It was time to go
there.

“Moving to Orlando
was really weird, to not have my (extended) family around,” Huang
recalled. And in Florida, “kids weren't really listening to hip hop
that much.”

His new life seemed
limiting, Huang said. “Suburbia's weird for a kid, because you're
trapped. You don't have modes of transportation. You go to school and
you come home. The kids in the neighborhood, you have no reference to
communicate with them. You are very alone.”

And then there was
the other factor: The son of Taiwanese immigrants, he was the only
Asian kid in his class. One kid derisively called him a chink. “I
put his arm in the microwave and closed the door.”

That was one of many
violent outbursts. Huang eventually had his own hip hop-style
friends, quick to strike. His memoir (also “Fresh Off the Boat”)
says his one felony conviction – driving a car into a crowd to save
a friend – wasn't his fault ... but there was plenty more he could
have been convicted for.

He was a shoplifter,
a large-scale drug dealer, a little guy who delivered savage
beatings. He also has an extraordinary mind – the top one-quarter
of one percent in test scores – and was in the schools' gifted
programs. He became a lawyer, then a chef, restaurant-owner,
food-show personality and comedian. He wrote a blog that became a
book (Random House, 2013, now Spiegel & Grau paperback, $15).

And now that's been
turned into a sitcom, no easy process. The book – filled with rage
and sarcasm – is far from sitcom turf. In a New York Magazine
essay, Huang seemed to take aim at ABC and at Nahnatchka Kahn, the
show's producer.

“The network's
approach was to tell a unversal, ambiguous, corn-starch story about
Asian-Americans, resembling moo goo gai pan,” he wrote, “written
by a Persian-American .... It wasn't that I hated the show. It
genuiniely entertained me, but it had to be more.”

Still, that essay
concluded by praising the pilot film for including a variation on the
“chink” incident. “For all the (crap), I felt some truth in it
for those three minutes.”

Khan – who grew up
in Hawaii, with parents from Iran – says Huang's book captured her
quickly. “What I really related to was the immigrant experience
.... You take somethingfrom the source material that is such a strong
voice and you try to develop it for a broader audience.”

Still, Huang said,
broadening can go too far. “People are really sick of watching
universal things that are just for the middle, like mass-consumption
things. People want specific stories.”

In the first
episode, at least, he figures “Fresh” did that. “To deal with
the word 'chink' in the pilot episode of a comedy on network
television is borderline genius and insane at the same time.”

-- “Fresh Off the
Boat,” ABC

-- Debuts at 8:30
and 9:31 p.m. Wednesday (Feb. 4); then 8 and 8:30 p.m. Tuesdays

 

It's time to talk Super Bowl and Al Michaels' Katyoke


On Super Bowl Sunday, it's easy to get distracted from the game itself. Don't feel bad about that; even Al Michaels, the play-by-play man, will be distracted by Katy Perry. Here's the story I sent to papers:

 

By MIKE HUGHES

As the Super Bowl
nears, we might stumble into a false assumption.

Surely, we'll
assume, sportscasters will avoid distractions. They'll use spare
moments to digest facts.

Or not. “The
halftime shows are so big and entertaining,” Al Michaels said. “I
remember the Bruce Springsteen one” on NBC in 2009.

And this year,
especially, he'll forget about football for 12 minutes: It will be
Katy Perry at halftime.

Flash back to the
summer of 2011, when Cris Collinsworth was talking about life in the
NBC broadcast booth. “The thing that I look forward to, most of
all, is hearing Al Michaels singing a Katy Perry song,” he said. “I
think that is the true highlight of the entire season.”

Indeed, Michaels
says he's been a Perry fan from the first moment he heard her. “I
guess I was ahead of my time; I was ahead with Taylor Swift, too.”

Now others can catch
up. Perry – with help from Lenny Kravitz and maybe others – does
halftime.

Such things are
important for supersized ratings. “The vast majority of the
audience is not going to be hard-core (football) fans,” said
producer Fred Gaudelli.

So non-football
things matter. There's Perry ... And Idina Menzel with the National
Anthem ... And John Legend with “America the Beautiful” ... And
Johnny Weir and Tara Lipinski at the tailgate party, interviewing
stars and catching more music. There's Savannah Guthrie interviewing
President Obama, Jimmy Fallon doing comedy; after the game, there's
“The Black List” and more Fallon.

And yes, there's
football.

This match has
classic quarterbacks (Seattle's scrambling Russell Wilson, New
England's pocket-passer Tom Brady), a top runner (Seattle's Mashawn
Lynch) and more. It has the sportscasters' attention.

The guys doing NBC's
pre-game show have a combined seven Super Bowl victories – two each
for Tony Dungy (a coach), Hines Ward (a receiver) and Rodney Harrison
(a safety), plus one for John Harbaugh, a current coach and guest
commentator.

But what about the
guys in the broadcast booth at game time?

Collinsworth was in
two Super Bowls, combining for seven catches, 147 yards, a fumble and
no wins. In the 1989 game, on the final play of Collinsworth's
career, Boomer Esiason lofted a desperation pass toward him; it was
broken up and the Bengals lost to the 49ers, 20-16.

And Michaels? He did
the first Super Bowl, he said – but as a spectator. “I was there
with my brother ....We had great seats, because there were about
35,000 empty” ones.

That was 1967 in the
Los Angeles Coliseum, which could hold close to 100,000 people; the
game drew 61,946. It would be two more years before the “Super
Bowl” nickname began ... and many more before this became a
national institution.

Michaels was 22 when
he saw that first game. This year's game will be his ninth as
play-by-play man, plus one time doing a pre-game show.

He'll never come
close to the game's superfans. Three men have seen every Super Bowl;
this will be their 49th and they'll be featured in the
pre-game show.

Last year, Michaels
recalled, he didn't even finish the game. He had flown to Russia to
prepare for the Winter Olympics. “About a hundred of us gathered in
the hotel lounge in Sochi with, I believe, one cocktail waitress. Not
enough .... We were all so exhausted, by halftime, we all went to
bed.”

We'll never know
what would have happened if there were more waitresses. Maybe he
would have stayed; maybe he would have done some Katy karaoke. This
year, Perry can do that herself.

-- Super Bowl, NBC:
pre-game show, noon ET Sunday; kick-off, 6:30 p.m.; Katy Perry,
halftime.

-- “The Black
List” follows at about 10:30 p.m. ET; Jimmy Fallon has “Tonight”
at about midnight.

This show needed skill, fortitude and imported snow


"Fortitude" is a rare combination of British talent and Icelandic vistas. Visually impressive and dramatically strong, it's an impressive show for the emerging channel called Pivot. Here's the story I sent to papers:

By MIKE HUGHES

PASADENA, Cal. --
Dramas are supposed to sweep us away to other places and other moods.

Still, few have
taken actors – or viewers – as far as “Fortitude,” the
ambitious new cable show:

-- Actors were swept
to Iceland -- “beautiful country, beautiful people,” Luke
Treadaway said.

-- And viewers will
be taken to an Arctic village called Fortitude, where the thawing ice
holds secrets. “We needed to find a place where hidden things could
emerge,” said Simon Donald, the show's creator.

Yes, this is a
fictional town; still, it's modeled after a real one. Midway between
Norway and the North Pole is Longyearbyen, with fewer people (2,040)
than polar bears, fewer cars than snowmobiles.

Its coal mines are
almost gone, Donald said. “The industry that sustained this place
for 100 years is fading. They need to find some way to make the place
viable. Tourism and scientific research” help.

That real-life
Longyearbyen has a hotel, library, movie theater, sports hall,
school, mini-college and research station. The make-believe Fortitude
is similar, letting opposite worlds collide – rugged miners vs.
abstract scientists, tourist development vs. environment.

Employment is full,
crime is scarce and no one is sure if the sheriff is skilled. “He's
definitely a good cop,” said Richard Dormer, who plays him.
“Whether or not he's a good person is another question.”

Now, for the first
time, it has a big crime – so big that a British police detective
is sent to help. He's played by Stanley Tucci, an Oscar-nominee and
two-time Emmy-winner; a nature photographer is played by Sir Michael
Gambon, a four-time winner of the British equivalent of an Emmy.

Still, they're in
support. The core of the show is actors viewers aren't familiar with:

-- Dormer as the
sheriff – a classic role for an Irishman who grew up on “Kojak”
and “Hill Street Blues” and such. “I grew up idolizing
America,” he said.

-- Treadaway as
Vincent Rattrey, a scientist. In a town full of outsiders, he's the
latest newcomer. He's uncomfortable – the notion of a both-sexes
nude sauna is beyond him – and, by the end of the opener, in
trouble. “I'm taken in handcuffs to the police station,”
Treadaway said.

-- Veronica Echegui
as Elena Ledesma. At the hotel, she's a barmaid, waitress and
receptionist; she brings a foggy past and starts a sexual affair that
spurs tragedy. In short, Echegui said, she plays a consummate
outsider. “The fact that I'm Spanish helped.”

This was a huge
transformation – from growing up in sunny Madrid to filming in
Iceland. That's fine with her, Echegui insists. “I didn't like
being in a place as noisy as Madrid.”

She wanted some
other life and (against her parents' wishes) auditioned for Spain's
Royal School for Dramatic Arts. Only 30 people out of 3,000
auditioners get in, she said; “I thought there was no chance, so I
was not nervous at all.” She got in and launched a busy career.

Similarly, Dormer
and Treadaway were Irishmen who landed spots in drama academies. Busy
careers have followed; Treadaway is one of the only people to have
played a conjoined twin with his own twin.

These actors reached
Iceland, communing with locals -- “incredibly open and generous,”
Dormer said – and with other actors. “I was able to hear Michael
Gambon tell about his audition with (Sir Laurence) Olivier,”
Treadaway said. “He must have told the story 2,000 times, but it's
still wonderful.”

And then they were
outside, portraying Arctic people. “It was quite remote and got
extremely cold,” said director Sam Miller. “And then, bizarrely,
for a couple of weeks we had no snow.”

So they had to
import it; they brought ice to Iceland. Make-believe can be odd
sometimes.

-- “Fortitude,”
10 p.m. ET Thursdays, Pivot, repeating at 1 a.m.

-- Two-hour opener
is Jan. 29, with “Slumdog Millionaire” as its lead-in, at 7:30
p.m. ET.

-- Opener reruns at
10 p.m. Friday (preceded by “Glory” at 7), 10 p.m. Super Bowl
Sunday (preceded by “Winter's Bone” at 7:30), 11 p.m. Tuesday
(preceded by a “Buffy the Vampire Slayer” marathon).

-- Pivot reaches 47
million homes by satellite and digital cable. It leans toward movies,
documentaries, foreign shows and such reruns as “Buffy,”
“Farscape,” “Friday Night Lights” and “Veronica Mars.”