Tom Shales
Tom Shales
Thomas William "Tom" Shalesis an American critic of television programming and operations. He is best known as TV critic for The Washington Post; in 1988, Shales received the Pulitzer Prize. He also writes a column for the television news trade publication NewsPro, published by Crain Communications...
NationalityAmerican
ProfessionWriter
Date of Birth3 November 1948
CountryUnited States of America
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'Leave It to Beaver,' which ran from 1957 until 1963, was one of the strangest, sweetest, most distinctive domestic sitcoms of television's celebrated Golden Age.
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ABC's intelligently hilarious sitcom 'Modern Family' depicts a gay-male marriage in which both partners are refreshingly dimensional, believable human beings. The writers dare to make them flawed and thus fully delineated, but they're not flawed in the silly, stereotypical ways that once dominated such portrayals.
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Making music on TV used to be as common as commercials. In the '60s and '70s, prime time was stuffed with variety shows headlined by such major and treasured talents as Carol Burnett, Red Skelton, the Smothers Brothers and Richard Pryor, who had a very brief comedy-variety hour on NBC that was censored literally to death.
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Jerry Seinfeld is amazing in many ways, not the least of them his ability to find humor, and convincing us to find it, too, in the million-and-two details about modern life that under different circumstances might send us into paroxysms of rage.
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Maybe it's the hair. Maybe it's the teeth. Maybe it's the intellect. No, it's the hair.
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Tom Snyder was big enough to fill the night with talk and his own persona. The Snyder we saw on TV was not a replica of the real guy; it was the real guy.
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Maybe Larry Kings cannot thrive or even survive in a world where the norms for discourse are rage, vehemence and character assassination. King wanted to be liked, not feared; admired, not loathed.
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Larry King's show got to be an increasingly lonely outpost of humane civility in a mephitic menagerie of hotheads, saber rattlers, cretins and crackpots.
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Your humble critic confesses that he has been wrestling with 'weight issues' since leaving college lo these, uh, several years ago, so it's hard to be receptive to the moralistic scolding and patronizing encouragement offered endlessly by the allegedly well-meaning.
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Tom Snyder was born to broadcast. He loved television and it loved him back. In that, he was a member of a vanishing breed, especially as narrowcasting displaces broadcasting, 'online' replaces 'on the air,' and any Tom, Dick or Mary can be monarch of a desktop domain, uplinking themselves to satellites in space.
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Why, on my mother's birthday, am I thinking about 'Father Knows Best?' At our house, mother knew best at least as often as father did, but then the title of the old sitcom, a homogenized portrait of American family life, was meant to be slightly sardonic.
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Perhaps unscripted reality shows and written fiction have already blurred together into some new amalgamated mush, just as the line between commercials and programs has been trashed.
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You know you're getting older when - well, first off, when you read almost any story that begins 'You know you're getting older when.' But you also know it when you not only never heard of the musical guest on a given 'Saturday Night Live' but never heard of the host, either.
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'I Love Lucy,' the first classic, really belonged more to the Wacky Woman genre than the domestic sitcom; 'My Little Margie' and 'I Married Joan' were among the shrill, coarse imitations.