Yeah, I know– you don’t watch TV. That’s the cool story and you’re sticking to it. I operate on the John Lennon principle: I keep the glass-eyed cyclops on almost 24/7 when I’m at home. I still have that childlike fear that I will close my eyes and miss something.
So here’s my other admission: I’m not really sure why I do this anymore, save from a decades-old habit. Yeah, even when I was married (all three times), I used the plug-in drug as my night light. The continuation of such a mad habit means it’s probably just that– a habit. Well, I’m sticking to that.
Once the TV cable channels were new and they put their best programming feet forward. In all fairness, that’s how we all got suckered into watching all the networks. The cable companies used the M.O. of all good dope dealers– the intro specials were plentiful, pleasurable and cheap. Once other viewers and I were in over our heads, they swiped the Sazerac and slipped us Kool-Aid. We were still supposed to– or so the industry suits hoped– take our daily tank and disappear. Most viewers didn’t disappoint their pushers, either.
My first love, excluding PBS, was A&E, which once stood for Arts and Entertainment Network. They helped me build on my previous worship of Britcoms, such as Mind Your Language, Fawlty Towers, Yes, Minister and its followup, Yes, Prime Minister. The way it worked was A&E only broadcast from 8 PM until 4 AM. From midnight until 4 AM, they repeated the same lineup that aired from 8 PM until midnight. Even so, those were often the best four hours on TV to be found anywhere in the 1980s. They featured Solo (with Felicity Kendall) and Open All Hours with the comic genius Ronnie Barker starring as stuttering, parsimonius storekeeper Arkwright. There was also the flipped out situation when BBC shows starred American actors, such as the great Elaine Stritch in Two’s Company or Kelly Monteith in his eponymous variety show. A&E also showed Gilbert and Sullivan’s Pirates of Penzance and HMS Pinafore, as well as Oscar Wilde’s play, The Importance of Being Earnest. And while I had no great cognizance of Leonard Nimoy’s importance as a Vulcan with flat effect and lethal neck grab, I was totally wowed by his emotional portrayal of artist Vincent van Gogh’s brother, Theo, in the one man show Dear Theo.
But all that time, I was living in a fool’s playhouse. Slowly and craftily, the jewels in the crown were gradually replaced by paste. It lost all but its last flashes of former glory. Occasionally, I’ll watch A&E ‘s reality crime show, The First 48. Given the network’s preoccupation with the pathology of substance abuse, I suspect that A&E now stands for “Addicts and Enablers.” They also import shows after first runs on other networks, such as Criminal Minds and The Sopranos. The absolute perigee of their lineup, in my opinion, is the schlock fest Dog the Bounty Hunter. For quests pitting this ex-con C-grade wrestler stand-in with his trusty paintball gun against crack-rattled, half-naked litterbugs, I gave up some of the best entertainment ever staged in the British Empire.
Today, when I think of the History Channel, my mind spins on what an irony their name is. The channel’s heyday is now passe. They used to feature programs about a wide variety of American and some world historical events. The day’s programs generally started with The Real West and anything might happen afterward. On History’s Mysteries, they even described John and Yoko’s purchase of a certain Mercedes wagon, a special order since the model had yet to make its debut in the Western Hemisphere. Sometimes the emphasis on the Hitler mystique was on the grating side, but the channel delivered a fairly splendid buffet of governmental, martial and biographical dainties. Even Ozzy Osbourne let us know, via his reality vehicle, that the channel was a favorite of his. Hey, the History Channel was getting through to that wild man!
Eventually, though, the swill started flowing through the cracks of time. More and more shows of a supernatural and/or speculative vein started cropping up; anything to do with Nostradamus seemed to have gained pride of place. Hitler was there only by virtue of his interest in the occult. New programs featured were characterized as modern history. Really, people? Ice Road Truckers? Sorry, but watching trucks and their drivers going ice skating is not a riveting or academic concept. Besides, such a show belongs on, say, Speedsouth or ESPN 2. American Pickers? It’s where people who would otherwise be on the freaky side of the Hoarders equation are sought out by two guys whose mission is to hustle the pack rats out of their objets d’art, memorabilia and collectibles. It’s Hope and Crosby starring in On the Road to the Antiques Show. Now they’re trying to scam Dorothy Lamour out of her sarong so they can resell it for a profit.
There also used to be this effervescent flashback channel known as TV Land. It featured old school programs, the sort of which even many of today’s youngsters enjoy. When it was riding high on a wave of retro fever, it even featured vintage commercials. One could see programs such as Burns and Allen, I Love Lucy, Laugh-In, The Ed Sullivan Show and The Flip Wilson Show. No, it wasn’t rocket science, but it was glorious for those of a generation who had been waiting for an opportunity to review the entertainment backdrop of our lives on a slightly better screen than from where it came. Slowly, though, came the influx of reality programming, as well as movies that were not so tired when they debuted shortly after The Jazz Singer. (Okay, Crocodile Dundee isn’t quite that old…). There were also wearisome, repetitious cascades of the same three or four shows being aired in various order, night after night. Roseanne, Everybody Loves Raymond, The Nanny and Home Improvement were the only shows that one usually saw on TV Land’s weeknight lineup. The reality shows were absolute dreck; in fact, I’ve often wondered if they were designed to be so dismal as to make one look forward to the endless parade of the second-tier shows from the last twenty years. How’d You Get So Rich?, hosted by Joan Rivers, delved into the stories of people whose journeys into the avenues populated by wealth were fueled by the same stuff that powers a crazy train. Personally, I want to forget that I live in a nation where people purchase disgusting fake teeth in an effort to ridicule those poor souls whose finances preclude a visit to the dentist. By the same token, I am not the least bit interested in a soap opera tartlet who finds that her youthful desire to be the perfect Silicone Sally has resulted in a kisser that look as if it could simultaneously put a lip lock on every ass walking down Hollywood and Vine, up to and including all 17,000 Kardashians. People in this nation are dying by inches without proper health care and I’m supposed to be crestfallen over elective surgery to correct elective surgery? Harry may have loved Lisa, but most of the rest of us didn’t like either one of them.
Other channels have proved lesser scoundrels in the bait and switch parade. TruTV started as CourtTV, which was dedicated to American jurisprudence and the annals of crime; now their evenings are filled with mock reality shows, such as a workingman’s Jerry Springer schlockfest called Operation Repo. TLC once stood for The Learning Channel. Shows once included medical procedures, scientific lore and a panoply of intellectual gems. Now, it seems to be a channel preoccupied with hyperfecundity and birth. Kate Plus Eight (now minus the complete turkey basting set, including legs allowing him to run around with other potential brooders), the contaceptive oblivious Duggars from 19 Kids and Counting, the simply oblivious on I Didn’t Know I Was Pregnant and A Conception Story are just a few of the shows on TLC that seem geared toward making everyone do their Old Testament duty to “be fruitful and multiply”– exponentially.
On top of all those channels morphing into madness, there were also the dirty tricks of the cable company– in my case, it’s Charter Communications. C-SPAN2, which often features authors discussing their works of the mostly non-fiction sort, was yanked from the middle expense tier. Gone was my access to interviews with the likes of two of my heroes, namely E.R. Braithwaite (To Sir, With Love) and Shelby Foote (The Civil War: A Narrative). Also pilfered was the Game Show Network, featuring Jeopardy! and What’s My Line? repeats. That last item probably sounds a bit frivolous, but it really isn’t. You see, I have this splanchnic fear of contracting dementia in any form. I used those shows to grill my brain box as is urged by medicos in an effort to prevent my phobia from being realized. I don’t need no stinking Golf Channel or eight different networks with sixteen different former athletes delivering such riveting comments as “They played their game and that made all the difference.” I need to be able to be able to tell Alex Trebek that platyhelminthes is the phylum of the flatworm within 2.5 seconds, give or take.
Surely I am not the only one who is angry because they started out by receiving some nice, stout Peruvian marching powder, only to be reduced to a dose of yayvers. Or is this just the way it is and nobody who still has cable or satellite wants to watch informative, compelling and stimulating TV? I could opt for the more expensive setup, but that would be caving, and, as you all know, I’m leaving the Treasure House very soon. That isn’t an option. Maybe I’ve just reached the ridiculously pigheaded phase and simply don’t know when to quit.
(If you have been kind enough to read thus far, this concludes the initial installment on this subject. The next one will detail my attempts to voice my outrage.)