The Actor Factor: The Cilantro of Sitcoms

I have never understood America's love of cilantro. To me, it tastes like stale sprigs of mint mixed with a batch of lye soap that Granny concocted in a steaming black kettle out by the cee-ment pond. I mention this because I find myself scratching my head in the same manner over the popularity, both critical and public, of Modern Family (the first season of which is now available on DVD and Blu-ray). To me, it is simply the cilantro of sitcoms.

The show centers around the trials and tribulations of the Pritchett and Dunphy families. Jay Pritchett (Ed O'Neill) is the semi-surly granddad married to much younger, Latina wife, Gloria (Sofia Vergara) and the two are raising Gloria's young son, Manny (Rico Rodriguez) Jay's daughter, Claire (Julie Bowen) is married to husband, Phil (Ty Burrell) and the two are raising a generic family of three. Then there is Jay's gay son, Mitchell (Jesse Tyler Ferguson) and his partner Cameron (Eric Stonestreet) who have just adopted a baby girl from somewhere in Asia.

The show is framed in the now almost prerequisite “mockumentary” style which leaves me forever screaming, “Who the hell are you talking to!” at the television. I must confess a particular loathing for this type of framing, especially when it is completely unexplained. I suppose we are just supposed to assume that all television is now “reality” and every one has a camera crew following them around 24/7. The problem is, when there are three to four or even five different camera shots in a hallway or car, one would think a cameraman would get caught in the shot from time to time. Nope... not even a stray foot. Comedy, like science fiction, has to be true to its own reality to make it believable, yet the characters keeping winking and giving the cameraman sideways glances on a regular basis.

“Who the hell are you winking at?!” Sorry... just had to get that out.

The stories play out in typical A-B-C fashion, bouncing back and forth between characters and plot lines. Situations borrow heavily from earlier family sitcoms, i.e.: camping trips and vacations, women drivers, old friends who are more successful... etc. The situations are usually made more “modern” and, presumably, funnier by throwing in some 21st century technology, gay and Latino characters and a healthy dose of cynicism.

The cast is capable and the characters semi-likeable, although Ed O'Neill's somnambulistic performance could be used in science classes to illustrate the eventual triumph of maximum entropy over the universe. Also, despite its Modern moniker, dated stereotypes predominate. Sofia Vergara's characterization is often over the top and comes across as if she were Charo and Rita Moreno's love child. The character of young Manny shows us just how cute early onset childhood diabetes can be. Ty Burrell is the typically semi-stupid dad and Julie Bowen is the blonde-ly innocuous wife who is a bit too good for him.

The worst offender, however, is Eric Stonestreet, whose take on a gay character belongs more in a Saturday Night Live sketch than it does in this show. Not a moment of his screen time is believable, and his portrayal ridicules his own character beyond the point of satire and stretches it to just plain insulting. Any kudos the show could have received for representing the gay community and casting actors who aren't stereotypically gorgeous in the gay roles is completely overshadowed by Stonestreet's performance. Fortunately, Stonestreet is counterbalanced by the brightest light in the cast, Jesse Tyler Ferguson, whose consistently grounded characterization always rings true.

With strong writing vets on board such as Christopher Lloyd, Steve Levitan and Abraham Higginbothem (The Golden Girls, Wings, Frasier and Will & Grace) one would think that Modern Family would contain more laugh out loud material. Indeed, the Lion King scene in the pilot episode is hysterical, but that is the exception not the rule with this show. One has to wonder if these writers even contribute more than a framework to the stories and that the execution is left to poor improv that aims at Christopher Guest's Best in Show but hits its mark with Eat Pray Love. I know, I know, the latter isn't an improved movie. Nor is it funny.

The DVD release contains all 24 season one episodes and special features, which include deleted “family interviews” (oh joy!) deleted, extended and alternate scenes; the obligatory gag reel and a few more extras that should please the show's seeming legions of fans.

I do find it rather ironic, though, that all of the first season episodes are rated only mediocre-to-fair on TV.com, despite the show's undeniable popularity. Personally, I think TV viewers are starving for the return of good sitcoms. With few exceptions (The Big Bang Theory, Cougar Town) modern television offers little in the way of truly funny half-hour comedies, and viewers are biding their time with shows such as Two and a Half Men (the mushrooms of sitcoms — don't get me started) and Modern Family.

It's sort of like when you're out to eat and you're so hungry that you eat that salsa in front of you no matter how much nasty cilantro is in it and how bad it tastes. There's just nothing else in which to dip your tortilla chip.

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

The Actor Factor: Acts of Desperation

Desperate Housewives launched its sixth season (now available on DVD) doing what it does best: taking everyday suburban situations, mixing them with a dose of malevolent mystery and raising them to a sort of absurdist operetta. The opening episode's breeze along adhering to the show's standard but effective formula. Even after five seasons, the now extremely familiar residents of Wisteria Lane can still entertain, surprise, engage and reveal something new about themselves. Unfortunately, about halfway through the season, the show takes a dark and heavy-handed turn, which stretches the bounds of believability even for Desperate Housewives.

The season opens with a strong episode, “Nice is Different Than Good,” picking up with last year's cliffhanger and quickly revealing the identity of Mike's bride (okay, it's Susan) and catching us up with the other characters in Fairview. Lynette and Tom (Felicity Huffman and Doug Savant) are dealing with the reality of becoming parents again in their forties, Bree and Orson (Marcia Cross and Kyle MacLachlan) are still at marital odds, and the situation is not being helped by Bree's affair with Susan's ex-husband, Karl (Richard Burgi.) Gabby and Carlos (Eva Longoria Parker and Ricardo Antonio Chavira) find themselves playing host to the latter's troubled and dangerously gorgeous teenage niece. Katherine (Dana Delany) is not handling Mike and Susan's remarriage well (in fact, she's down right crazy.) To top it all off, the obligatory mysterious-newcomers-with-a-dark-secret, Angie and Nick Bolen (Drea de Matteo and Jeffrey Nordling) have taken up residence in dead narrator Mary Alice's former house.

The season certainly has its high points. Gabby starts home schooling Juanita (Madison De la Garza) when the latter is withdrawn from school after both she and Gabby use some colorful language. Lynette's struggles with her feelings about her mid-life pregnancy give Felicity Huffman a chance to use her always-impressive range. Dana Delany finally gets a good storyline when a new and unconventional romance presents itself to Katherine. Marcia Cross and Kyle MacLachlan do some of their best work ever, with the help of some very fine writing, as Bree and Orson, in the season's final episodes, struggle to save their marriage. However, the most consistent storylines this year are Susan's, and Terri Hatcher continues to impress and surprise with both her comedic and dramatic range. She proves herself an agile pole dancer as well.

Drea de Matteo is a welcome addition to the cast, and her chemistry with the other actors works surprisingly well. Kathryn Joosten's role as Karen McCluskey is gratefully expanded this season, as are the characters of supporting gay couple Bob and Lee (Tuc Watkins and Kevin Rahm). Andrea Bowen returns as Susan's daughter, Julie, and Shawn Pyfrom makes several guest appearances as Bree's gay son, Andrew. A talent to watch is Julie Benz, who portrays a former stripper named Robin who has a profound effect on the women of Wisteria Lane — one in particular.

Unfortunately, the season also has far many lower points than usual. Lynette's plot to hide her pregnancy from boss Carlos starts out amusingly enough but spirals into a bitterness that goes on too long (even when watching back-to-back episodes on DVD), and the storyline is cheaply resolved in the prerequisite mid-season catastrophe episode “Boom Crunch.” This episode is followed by the even weaker and ultimately pointless “If”, which is saved only in part by Teri Hatcher in a fat suit and some strong work (in a forced scene) by Felicity Huffman. There are far too many psychopaths lining up in the final few episodes as well, including a stranger (Sam Page, channeling a preppy Eddie Haskal) trying to take over Bree's company, a be-sweatered and murderous Eco-terrorist played by the charmingly miscast John Barrowman of Torchwood fame, and last-but-not-least the Mayfair Strangler!

The revelation of the Strangler's identity is probably the most unbelievable revelation in DH history (considering the character could probably be taken down by Juanita and Celia Solis in a fair fight.) Furthermore, when normally intelligent Lynette begins to piece together the truth about the killer, she is such a bad detective, even Nancy Drew second bananas Bess and George would mock Lynette's sleuthing abilities.

Despite the season's shortcomings, the show remains entertaining and maintains an overall quality and freshness that is rarely found in a television show in its sixth season (or first season for that matter.) This year's guess-who's-back! cliffhanger also bodes well for better things to come next year.

The DVD's extras feature some excellent deleted scenes, a Mike Delfino (James Denton) man-on-man kiss in the blooper reel, and a not-to-be-missed interview with the cast by Muppet stars Miss Piggy and Pepe the Prawn. Also included in the extras are favorite scenes from the season “Cherry-Picked” by show creator Marc Cherry. Ironically, one of the favorite scenes he chooses is one I found rather forced and clumsy. However, hearing his commentary regarding the scene certainly gives one a sense of the time, craft, love and attention that goes into this show.

Desperate Housewives has set the bar pretty high for itself, and though it may miss its own mark at times this season, it remains one of the best written, acted and produced shows on television. When a sixth season of a show can still keep its audience hoping for a seventh season, it must be doing something right.

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

The Actor Factor: Taming the Cougar

When Cougar Town first premiered last fall, I had been (somewhat) eagerly anticipating it. I have always been a fan of Friends and its talented cast, and I welcomed the return of Courtney Cox to prime time network television comedy after her turn in the abysmal Dirt on FX in 2007-2008.

The pilot episode did indeed make me laugh out loud, guffaw even, several times. The second episode was equally funny with a hysterical photo montage that I watched several times over again through the magic of the bloop-back-button on TiVo. The third episode still provided plenty of laughs as well as the world's first dual manicure/bikini wax, but I was already beginning to tire of the shows basic premise: 40-something real estate agent Jules Cobb (Cox) is freshly divorced and coping with single life and, you guessed it, being a cougar (an older woman chasing after younger men, for those of you not in the know.)

I have never been a fan of current-day one-camera-sitcoms. They usually strike me as forced and insincere. Furthermore, Cox's performance in the show was almost too over-the-top, especially when contrasted against the show's supporting cast, which is ironic as she started out completely understated on Friends and eventually came up to a broader sitcom-style performance. Cougar Town just seemed to be going nowhere, and I stopped watching. Mind you, I didn't dislike the show, but there just wasn't enough there to keep me tuning in, especially with my TiVo memory at 13-percent and too many shows backing up in the queue.

Now, I have an “everything is better on DVD” philosophy, so when the chance came up to review the Cougar Town: The Complete First Season DVD release for Movie Dearest, I jumped at it. And son-of-a-gun, the show is better on DVD! But not just because of the lack of commercials, extra bonus features and chronological viewing convenience. The show itself, about a third of the way into the season, starts to downplay Cox's “cougaresque” sexcapdes, and becomes a character-driven, ensemble show about middle-aged people navigating life.

Yes, it is pretty much Friends twenty years later, but it works. The clever writing now has more substance and pathos beneath it, and the cast is one of the best ensembles to come along since Will & Grace. This becomes most apparent in the Thanksgiving episode “Here Comes My Girl”, wherein the entire cast begins to interact with each other instead of being somewhat separate entities on the periphery of Jules' life.

And what a cast of characters to play with! Jules best friends, next-door neighbor Ellie Torres (Christa Miller-Lawrence) and co-worker Laurie Keller (Busy Phillips) seemingly despise each other. Yet they maintain a bickering and humorous truce out of their friendship for Jules. Miller-Lawrence plays the self-absorbed Ellie with a dry wit reminiscent of Bea Arthur (she better take that as a compliment) and Phillips spouts off some of the shows best non sequitur lines with a sincerity that defies logic, such as: “Maybe Grayson's just being careful because it's a new relationship — they probably haven't even shaved each other yet.”

Rounding out the cast and characters are Bryan Van Holt as Jules' ex, Bobby, a typical, loveable loser type who remains remarkably human with Van Holt's deft and layered portrayal; Ian Gomez as Andy Torres (Ellie's husband) whose slightly inappropriate man-crush on Bobby breaks the mold of best buddy relationships; Josh Hopkins as Grayson Ellis, Jules' neighbor, nemesis, will-they-or-won't-they love interest and “paper buddy;” and the subtle and talented Dan Byrd as Travis Cobb, Jules and Bobby's college-bound son — the child Monica and Chandler probably would have had.

Put any of these characters/actors together in any combination, and the chemistry sparks and the laughs follow, even when it is a slightly inappropriate coupling. That doesn't happen much on television anymore. The show includes great guest appearances as well, including Barry Bostwick, Beverly D'Angelo, Sheryl Crow and Lisa Kudrow in a wonderful turn as the world's meanest dermatologist.

The only character who remains true to the “Cougar Roots” of Cougar Town is the mysterious and wonderfully under-developed, Barb, portrayed by General Hospital's Daytime Emmy-nominated Carolyn Hennessy. Her character pops out of nowhere, often just leaning into camera shot, to offer her two cents of “Cougar Philosophy” and disappears just as quickly. The bonus features offer Barb's Blog Spot from ABC.com, in which she dispenses advice to the middle-aged lovelorn, and that alone is worth the price of admission. Also of note on the bonus features is the Jimmy Kimmel sketch “Saber-Tooth Tiger Land” featuring Cloris Leachman and a foul-mouthed Shirley Jones.

But make no mistake, despite the show's new ensemble direction, it is Courtney Cox that holds it all together. Much as she did with Friends, she sets her tone to that of her fellow cast-mates, and she sparkles all the more for sharing the spotlight.

Created by Bill Lawrence (former Friends writer and co-creator of Spin City and Scrubs) and Kevin Biegle (former Scrubs staff writer), Cougar Town walks a not-so-delicate tightrope between schmaltz and cynicism, which never strays too far from reality, while still daring to dally with the surreal. It is also a dazzling show to look at, with production values that play with color and light in a way few other shows do. In the end, as with Friends, Cougar Town is simply made up of nice (though flawed) people who are just fun to spend time with.

And, for me, that's what television is all about.

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

Dearie Awards 2009: Stage Show of the Year - SHREK

The 2009 Broadway season boasted shows loaded with GLBT sensibilities: tap-dancing British boys, naked flower children, and, yes, even mothers throwing silverware and singing about being bipolar. However, the best of the best was Shrek The Musical. It touts one of the cleverest, funniest and most inventive scores to come along in a great while. Shrek shines as a beacon, not just for the GLBT community, but also for anyone anywhere who has ever been made to feel less than they are simply because they're different.

The book and lyrics by David Lindsay-Abaire (a wordsmith to keep an eye on) remind children of all ages that “what makes us special makes a strong” in the tune “Freak Flag”, a song which soars to the level of a pride anthem in which Pinocchio (John Tartaglia) cries “I'm wood, I'm good, get used to it!” Jeanine Tesori's musical score is inspired and runs a gamut of musical genres, with stellar orchestrations by Danny Troob and vocal arrangements by Tesori and Tim Viel. The cast does full justice to the brilliantly ridiculous material, with a breakout performance by Brian D'arcy James in the title role. Sutton Foster sparkles as Princess Fiona, especially in the song “I Know It's Today” in which she sings an inspired trio with her “younger selves.” And Christopher Sieber is a comical joy as Lord Farquaad. In an ever-increasing line of movie-to-musical shows, Shrek delivers the goods time and again and should stand as a model for the genre.

Honorable “Dearie” mentions go to the Tony Award winning revival of the surprisingly enduring hippie musical Hair and to the highly entertaining and sorely underrated 9 to 5 The Musical. Though not as polished as Shrek, Dolly Parton's freshman musical theater score boasts very singable and well-crafted songs, which bode well for her next proposed foray into musical theater: a show based on her life story. Parton is hopeful that Broadway diva (and Movie Dearest favorite) Kristin Chenoweth, will play the lead in the show.

National tours are planned for both Shrek and 9 to 5 and hopefully will be coming soon to a city near you. In the meantime, both shows' Original Cast Recordingsare available on CD. So, on your next road trip (possibly to some pride festival far-far away) have a great sing-along with one of these highly enjoyable new recordings and maybe even let your own freak flag fly!

By James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

The Actor Factor: The Witches Are Out

Bewitched celebrated its 45th year on television this past September. After its premiere in 1964 it became ABC's biggest comedy hit up to that time, finishing at an impressive number two in the Nielsens that year. It is one of a select few shows that hasn't been off the air since its premiere, and now the entire series is available on DVD.

One of my favorite shows as a kid, I think every child of the seventies has fond memories of staying home sick from school (or just playing hooky) and watching reruns of Bewitched and I Dream of Jeannie. As an adult, though, I discovered the seldom-seen-in-reruns black and white episodes of Bewitched on Nick at Nite, and it has since become one of my favorite shows of all time.


Most people remember Bewitched as a silly supernatural show of the sixties and early seventies, but it is far more than that. It tackled issues of prejudice and intolerance long before it was commonplace or even acceptable on television. I have collected every season on DVD, after arduously saving them to VHS over the years, and after re-watching episodes for the umpteenth time, I have put together a list of the five episodes of Bewitched that every member of the GLBT community MUST see. Yes, I said “MUST” and all in capital letters. The shows are all from the first two seasons, and two of them are, timely enough, Halloween episodes.

“The Witches Are Out” from season one is the first episode where witches are presented as a minority group. They are referred to as such in the episode in which one of Darrin' clients (portrayed by Shelley Berman) wants his Halloween candy represented by a wart-nosed, broom-riding witch. Meanwhile, Samantha and her witch committee are trying to actively combat the negative images associated with witches during Halloween.


When Samantha stumbles upon Darrin's illustrations of a stereotypical witch, she is hurt and incensed. Darrin doesn't quite understand, but immediately supports Samantha, and instead comes up with a campaign portraying a sexy witch. The client shoots down the idea, but he is Dickensian-ally visited in the night by protest-sign-carrying witches who convince him of the error of his ways. This episode also marks the first appearance of Marion Lorne as Aunt Clara.

“A is for Aardvark”, also from the first season, does not have a particularly gay sensibility, but it is arguably the best episode of the entire series and my personal favorite. In it, Darrin sprains his ankle and Samantha, through witchcraft, makes the house obey his every wish. It is Darrin's first real taste of the power at a witch's command, and he quickly falls victim to the overwhelming lure of witchcraft. Through the experience, Darrin and Sam both learn the value of the unconventional love they share. Elizabeth Montgomery and Dick York turn in extraordinary performances. Notably, the episode is directed by film star Ida Lupino.


“There's No Witch Like an Old Witch” (again from season one) portrays a depressed and aging Aunt Clara finding value and purpose as a babysitter for mortal children. Although her young charges are delighted with her magical tricks and stories of flying from rooftop to rooftop, some parents are uncomfortable with Aunt Clara's eccentricities.

Aunt Clara ends up before a judge to plead her capability and value as a babysitter. The show tackles ageism and parental fear of that which is different as all the while Clara attempts to pull a rabbit from her pocket book, delightfully bungling the spell each and every time. Lorne would go on to posthumously win an Emmy for her role.


“The Joker is a Card” from season two marks the first appearance of Paul Lynde as Uncle Arthur. Need I say more? I don't, but I will. This is possibly the funniest episode of Bewitched ever. Endora's practical-joke-playing younger brother, Arthur, is introduced and delightful havoc ensues. Arthur convinces Darrin he can combat Endora's meddling with magic of his own, complete with duck calls and cowbells. "Yaga-zuzzie, yaga-zuzzie, yaga-zuzzie-zem!"

“Trick or Treat” is the second season's Halloween episode in which Endora wants Samantha to go away with her to the “Sacred Volcano” to escape the disturbing (to witches at least) revelries of Halloween. Darrin refuses, and Endora (in the guise of a gypsy girl portrayed by a very young Maureen “Marcia Brady” McCormick) turns Darrin into a werewolf. Dick York's transformation is both hysterical and ridiculous, but the resolution, in which Samantha challenges Endora to confront her own prejudices, is some of the most thought-provoking television ever produced. No — really!


The preceding episodes are but a sample of Bewitched's finest, especially from a GLBT perspective. Honorable mentions also go to “Witches and Warlocks Are My Favorite Things,” (season three) in which a coven of witches questions the suitability of Tabitha being raised in a mixed marriage, and “Samantha's Power Failure” (season five) in which the Witches' Council strips Sam, Serena, Uncle Arthur and Tabitha of their powers (this is also a personal favorite of my partner Chris — that reverend who does movie reviews around here). Oh, and “Samantha and the Loch Ness Monster” (season eight) just makes me laugh ridiculously. Serena as a mermaid! Do I need to say more? I could, but I won't.

All eight seasons of Bewitched are now availableon DVD, and there is talk of releasing the entire series in a boxed set. The earlier seasons, especially the first two, are must-sees for classic TV fans and new viewers alike.


The last three seasons with Dick Sargent (a gay icon in his own right) lack the originality of the earlier episodes and draw on many “remade” scripts from the first few seasons, but they remain entertaining and make the perfect viewing option when you are home sick from work ... or when you're just playing hooky.

"Calling Doctor Bombay! Emergency! Come right away!"

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

The Actor Factor: Desperate Hours

It’s five years later, and everything on Wisteria Lane has changed. Well, maybe not everything, but there is definitely some thing fresh and reinvigorated about Desperate Housewives ... and no, I’m not talking about rumored Botox injections in any of the lead actresses’ foreheads. The DH season four finale saw the action jarringly and unexpectedly jump five years into the future, and that is where the fifth season (available on DVDthis week) picks up.

Bree is now a catering dynamo with a book deal. Katherine is her unsung partner. Lynette and Tom are working overtime to keep Scavo’s Pizzeria running and their kids in line. Edie has returned to town after a five-year absence with her creepy new husband. Gabby, overweight and out of shape, and Carlos, still blind, are struggling to make ends meet while raising two daughters. And the couple of couples, Mike and Susan, are no longer a couple.


As always, the cast is fantastic. Marcia Cross and Felicity Huffman never fail to deliver. Nicollette Sheridan plays the deadpan-sexpot-pragmatist, Edie, to perfection. Dana Delany is classy and understated, but a little underused for an actress of her talents. This, however, allows well-deserved camera time for the Emmy-winning Kathryn Joosten as Karen McCluskey, who turns sleuth and tackles this season’s mystery arc. Eva Longoria Parker is particularly strong this season as a frumpy, down-and-out Gaby, who spends nearly the entire season clawing her way back to the top.

Season five, however, truly belongs to Teri Hatcher. Her storylines this year have been their strongest ever, and Hatcher rises to every moment. Episode after episode, she runs the gamut from light comedy to heart-felt pathos and ridiculous, screwball situations to heavy drama — often played all in one scene. The girl can turn on a dime and make you believe every minute of it.

The ‘Desperate Husbands’ also have particularly good plotlines and scripts this season, especially Doug Savant as Tom Scavo. His midlife crisis meltdowns are hysterical and downright ludicrous at times. However, he never fails to grow up and rise to the occasion when Lynette and the kids truly need him to be strong. Neal McDonough, as Edie’s new husband, Dave Williams, performs effectively with Machiavellian menace, and he remains creepily sexy despite his strange, albino crew-fro.

The children of our desperate housewives and husbands (The ‘Desperate Offspring,’ as I like to call them) have always played a strong part in the show, and this season is no exception. However, many characters have been recast in the five-year jump. Madison de la Garza, as Gaby’s eldest daughter, Juanita, is the standout. There is wonderful chemistry between her and Longoria, as the controversial “New Game” scene in the opening episode will attest. Juanita often functions as Gabrielle’s main foil and sometimes confidant, and it is an interesting dynamic to watch.

The only continually returning ‘D-Offspring’ actor is Shawn Pyfrom as Bree’s son, Andrew. He is still gay and now engaged to a hot young doctor. Said doctor has an interesting past, about which gay neighbors Bob (Tuc Watkins) and Lee (Kevin Rahm) know a little too much. To see four recurring gay male characters, each with different and distinct personalities, is a delight rarely seen in any media. Add to this Edie’s gay ex-husband, Lily Tomlin as McCluskey’s sister (and detective sidekick) and Queer as Folk’s Gale Harold as Susan’s new love interest, and I say we have DH’s gayest season ever!

It is also the show’s best season since season one. There are several standout episodes. “Mirror, Mirror” has some of the finest editing and direction seen on broadcast television. The 100th episode, “The Best Thing That Ever Could Have Happened,” guest stars Beau Bridges, who was justly Emmy nominated for his turn as Eli Scruggs, a handyman who touches the lives, both past and present, of all the women of Wisteria Lane, including that of pre-suicidal Mary Alice Young. “Look Into Their Eyes and See What They Know,” the episode in which the housewives say goodbye to a long-time friend, however, is particularly moving, but I cried at the wedding episode of The Nanny, so I am a bit of a pushover.

The season finale does what DH does best: brings everything to an exiting conclusion without demonizing the villains or sanctifying the heroes. The cliffhangers are less sensational than usual but are still clever, and they will keep you desperate to know what happens next.

The “extras” on the DVD release (I received “The Red Hot Edition”) are a mixed batch. The blooper reel, consisting of little more than some flubbed lines, is somewhat disappointing. The deleted scenes don’t add much, though Lynette’s drunken chemo session is priceless. However, the 100th episode retrospective is a nice touch, as is the mini-tribute to Teri Hatcher.

The best “extra” is the behind-the-scenes look at the table read of the weekly script, showing just how much work goes into crafting such quality television week after week and year after year. There is also excellent and informative commentary by series creator Marc Cherry and weekly narrator Brenda Strong on the 100th episode.


“Extras” are always nice, but it is the episodes themselves that truly matter, and this fifth season is the cream of the crop. If you have never seen DH, season five is a great place to start. If you left DH after the first season (and shame on you), this is a great season to come back. If you are like me, and have been desperate for the last five years, it is well worth watching this season all over again. So — get the DVD setand pour a glass of chardonnay, or perhaps a ‘Desperate Daiquiri,’ and sit back and enjoy the show. Every night is Sunday night, and the gals of Wisteria Lane and all their desperate escapades are just a remote click away.

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

The Actor Factor: A Design So Fine

Designing Women first appeared to me as a tiny little blurb in TV Guide. Now, when I was a kid, there was something magical about the “special fall preview” edition of TV Guide. The magazine was just a digest then, and it looked like a shiny little bible containing shoulder pads and ten-gallon hats instead of arks and abominations. The fall preview would include sneak peeks at upcoming new shows, and previews of returning favorites. Seeing the Designing Women blurb, I remember thinking that it looked like a Golden Girls knockoff, with younger, sexier female protagonists. Still, I decided to give the new sitcom a shot. As we all know, Designing Women proved to be anything but a Golden Girls rip-off, and went on to become one of the best written and topical sitcoms in television history.

The cast was made up of seasoned television actresses, and their sparkling chemistry was immediately apparent. Linda Bloodworth-Thompson, the show’s creator and most prolific writer, was a TV veteran herself who had previously written for several well-known shows, including M*A*S*H. Thompson’s sassy and satirical dialogue sprang to life and gave voice to the Modern Southern Woman, making us rethink the classic stereotypes of the “Southern Belle.” America was a bit slow to catch on, though, as the show was bounced from timeslot to timeslot. However, one of the few successful fan-based letter-writing campaigns in television history brought the show back from cancellation for a second season (now available on DVDfor the first time).

The show’s sophomore season proved to be one of its strongest, tackling many controversial issues with a classy and often sophisticated southern humor. One episode revolves around Charlene (Jean Smart) at odds with her pastor over his refusal to allow women to preach. Another episode finds Julia (Dixie Carter) and Suzanne (Delta Burke) debating the merits of joining a country club that maintains exclusivity clauses. However, the most poignant episode of the season, especially to the GLBT community, is the episode entitled “Killing all the Right People.” I remember seeing this episode when it first aired. As a closeted gay teen at the height of the AIDS scare, it was one of the most powerful things I had ever seen on television. And it was in a sitcom no less!

A young gay man, portrayed by Tony Goldwyn (Ghost), asks the women of Sugarbakers to “design his funeral.” We learn that he has been diagnosed with AIDS, and what follows is an episode deftly written and frankly informative, especially for the time. The episode title comes from a guest character stating that this seemingly selective disease is “killing all the right people.” This statement is shot down in one of Julia’s brilliantly written and delivered diatribes, pointing out that: “If God was giving out sexually transmitted diseases to people as a punishment for sinning, then you would be at the free clinic all the time!”

Thompson’s own mother had died of AIDS, and this episode was written, in part, to inform and educate the public about the disease. The episode culminates with a PTA debate concerning sex education and the use of condoms among teenagers in which Mary Jo (Annie Potts) raises the point that in whatever sexual activity teens may or may not engage, they shouldn’t have to die as a consequence. Pope Benedict XVI could learn a lot from this episode.


Of course, what really matters in a sitcom is the laughs, and this season abounds with them. Many of the laughs can be attributed to the delightful Alice Ghostly (Esmeralda on Bewitched). Her portrayal of Bernice Clifton abounds with southern flavored dementia and an on again off again arterial flow which always hits a perfectly timed comedic mark.

After an initial strong run in syndication, Designing Women is finding less airplay on television. The release of entire seasons on DVD, after a “Best of” release (don’t you hate those) is a welcome gift for fans. Here’s hoping we get the entire series, or at least the first six seasons released on DVD. It has been a long time since we’ve seen such a well-written and topical sitcom on network television (or anywhere for that matter). The show is in a class all its own.

Long after the final notes of the ending credits have played, Georgia and its Designing Women are still on our mind.

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

The Actor Factor: Here’s ... The Lucy Show on DVD!

Thirteen years before One Day at a Time’s Anne Romano and over twenty years before Kate & Allie, there were Lucy and Viv. Sporadically shown in syndication and on Nick at Nite, the first season of The Lucy Show finally receives the complete DVD releaseit has long deserved.

Nearly two years after the demise of The Lucy-Desi Comedy Hour (the hour-long episodes of I Love Lucy that replaced the groundbreaking half-hour series) and a short, though notable stint on Broadway in Cy Coleman’s Wildcat, Lucille Ball returned to network television with The Lucille Ball Show … later shortened to The Lucy Show. With her, she brought the writers from I Love Lucy, executive producer Desi Arnaz, and (perhaps most importantly) Vivian Vance. Bonnie Franklin’s Anne Romano of One Day at a Time has long been credited as network television’s first lead female divorcée, but that credit truly goes to Vance’s portrayal of Vivian Bagley on The Lucy Show.


Premiering in 1962 and based on Irene Kampen’s novel Life without George, The Lucy Show revolves around the misadventures of Lucy Carmichael and Vivian Bagley, a widow and a divorcée who move in together to share expenses and raise their families. Though perhaps not quite as memorable as I Love Lucy, The Lucy Show is still grounded in credible family reality, raised to almost operatically ludicrous heights of hilarity. Stand out episodes include Lucy and Viv installing a TV antenna, the culture clash of two families trying to agree on the proper celebration of Christmas, and of course, the classic scene where Lucy and Viv install a shower. Just sit back and watch two pros go to work.

Though this series may be seen as a continuation of I Love Lucy without the men, the dynamic between Ball and Vance, though so familiar, is colored with a true feeling of equality that was not seen in I Love Lucy. Lucy and Viv are contemporaries in this series, roughly the same age, as opposed to the May/December Lucy/Ethel characters.


Front and center, though, is the importance of family and friendship. Also front and center is the brilliance of Lucille Ball as an actress of sublime truth and physicality. There is simply no one better. Watch Lucy Carmichael as she attempts to take on a part time job to afford a bicycle for her son, hide an illegal candy corn production line from the police or take on the role of Charlie Chaplin to entertain at her daughter’s New Year’s Eve party. For every episode that falls short and appears dated or corny, there are far more which stand the test of time.

Absent from this first season is the brilliant Gale Gordon, who would go on to play Mr. Mooney in subsequent seasons. In his place is the stoic Mr. Barnsdahl, played by Charles Lane, veteran of countless classic TV shows including Bewitched, All in the Family and Soap and who appeared in many I Love Lucy episodes and as an extra and in bit parts in several Lucille Ball movies. Lucy always provided work for old RKO and MGM pals.


The lack of the dynamic Gayle Gordon, however, lets the family situation comedy prevail, as later years of the series would write out the entire supporting cast, leaving only Ball and Gordon and an endless parade of celebrity guest stars (including Joan Crawford) stumbling through more and more surreal situations. Also appearing in the first season is Dick Martin, of Rowan and Martin’s Laugh-In.

This first season is The Lucy Show at its best: two years before it would be deserted by Vivian Vance and its best writers, who would go on to write for All in the Family. The Lucy Show, which has long languished in obscurity, is well deserving of a second look, both for its non-traditional family dynamic and the always brilliant teaming of Ball and Vance.

The Lucy Show: The Official First Season DVD collectionincludes new interviews with Lucie Arnaz, series regular Jimmy Garrett, and many other DVD bonuses. Also available next month for the first time on DVDis the first season of Here’s Lucy ... but that is for another article; please stay tuned!

The Actor Factor: A View from Both Sides of the Camera is by James Jaeger, Los Angeles based actor and resident television critic of Movie Dearest.

Introducing: The Actor Factor!

Today is a special day here at Movie Dearest, as we welcome James Jaeger into the fold as our newest contributor!

James is a Los Angeles based actor who has appeared in many theatrical productions across the country and several local LA stage productions. He is the author of The Peter Putnam Mystery Novels: The Ghost at Patriots Rest and The Wildman on Wandering Wolf Trail. He also appears in Leola Productions' upcoming release of the film The Real Deal.

Our latest "Man on Film" is also a self-confessed obsessive about all things TV, and his column — titled The Actor Factor: A View from Both Sides of the Camera — will tap into his vast knowledge of both classic and contemporary television, beginning with a review of the long-awaited DVD debut of The Lucy Show later today. Jim's future contributions will include more Lucy, as well as looks at some more legendary ladies of the small screen ... think of the desperate, designing and bewitching kind!