The TV Sidekick Blogathon: A Love Letter to Bosley on Charlie's Angels

 
“Once upon a time there were three little girls who went to Police Academy…” 

… and a number cruncher named Bosley.

Scratchy voiced David Doyle came up in a family of lawyers, and even attended law school, but found acting was a lot more fun. In 1960 he made his debut on Broadway in a musical titled Beg, Borrow, or Steal, which just happened to coincide with his earliest television appearances (IMDb lists his first credit in 1959 as “Desk Clerk”). He certainly paid his dues, working his way up the ranks, appearing regularly on The Patty Duke Show, and Bridget Loves Bernie among others. And while he was a common small screen face, he didn’t become a household name until an offer to play the (originally) grumpy bookkeeping assistant to a never-seen Charlie on a landmark seventies action series came to his door. Charlie’s Angels would be unvaryingly lambasted by snooty critics, but loved by adoring fans like myself, who found Doyle’s John Bosley (referred to mostly as Bosley or “Boz”) a perfect companion to the lovely trio of detectives who solved mostly glamorous crimes on a weekly basis.

This is what I do. Answer the phone, while trying not to get knocked over by Angel hair.

Let’s be honest, the Angels, five in all, were uniformly perfect, and it may have seemed a given that Bosley would possess some form of lascivious middle-aged chauvinism, or come across as someone who was resentful of the power positions of his female co-workers. But in Doyle's confident shoes, Bosley was a lovable pragmatic assistant and friend. While many viewers saw him as a father figure to the women, Doyle thought he was more like the good-natured and goofy Uncle who might be a bit spinster-ish with the books, but whose ultimate desire was to see the Angels succeed.

Buddies 4 life!

With all this love for Bosley in the air, I dove into my research by flipping through the normally reliable Prime-Time Life by Aaron Spelling and scanned the chapter all about the Angels for Doyle anecdotes. But wait. Did my eyes just deceive me? Was there really no mention of the fabulous actor who portrayed Bosley and the role he played in making the series so great?

Curses Bosley! You’ve been foiled yet again!

Don't worry Boz, the fans love you!

But you know what? Isn’t that par for Bosley’s course? Doyle faced an uphill battle with the series, initially playing Bosley as a curmudgeon number cruncher in the pilot movie (alongside David Ogden Steirs who disappeared by the time the series began). Doyle did indeed have the unglamorous task of making his pencil pushing “secretary” character into someone likeable, and also someone who didn’t mind hanging around the background while his three female co-stars took the spotlight and better on-set stylists.

Is it just me, or is that gorgeous sweater trying to upstage Bosley?

And there is very little to Bosley, actually. He talks to Charlie, takes phones calls from the Angels, sometimes puts on a costume and/or accent to help his co-workers out, and then often finds himself the butt of the joke during the end call where Charlie wraps the whole affair up. Doyle could have easily leered at the lovely actresses, picked up his check and spent his days snorting coke in Bel Air (I’m just sayin’ for the sake of argument), but he chose to bring intelligence, humor and depth to the character. Also, he simply loved acting, and loved working with his co-stars. He once commented that working alongside three beautiful women or acting with three cigar smoking males was all the same to him, because it was the job that mattered and he saw his castmates as equals who wanted to work just as much as he did. I don’t mean to quote Aretha or anything, but R-E-S-P-E-C-T.

These are my partners, see?

Although he’d get a few love interests (who were usually bad guys in cashmere), and a couple of Bosley-centric episodes, Doyle was fully aware of his place in the series, stating in an interview “I don’t know a show that has three equal leads. So it gets harder and harder to add a further element of equality – me.” And while he publicly wished Bosley was a little more together, I grew up seeing him as quite the hero, probably in part because he readily set aside his ego to let the ladies shine. I also realize that despite that lack of spotlight, I still saw him as less of an assistant, and more a full-fledged partner. I mean, he even had his own silhouette!

You've arrived, Bosley!

What’s so interesting about ol’ Boz is that, while many critics derided the series for it’s jiggly charms and fluffy demeanor, it sometimes served as a space for some interesting gender bending storylines, where Bosley played the “girl” who needed rescuing. Angels in Waiting (OAD 3/21/79) is a prime example of this, featuring Doyle in the first of only a few Bosley-centric episodes, where he is a lovelorn, frustrated “secretary” who attempts to have a little adventure of his own. Of course, he’s fallen for the wrong lady, and inevitably has to be saved by the Angels. Switch the roles, and it would look like an episode of any other detective show, but in this bubblegum wrapper of a series, we’ve just predicted The Heat! Wut? I know. Cool, right?

Adventures always involve gunplay, you know...

And further to Boz's charms, despite being mostly a flashback episode, in the very last Charlie's Angels, Let Our Angel Live (OAD 6/24/1981), Bosley got to show off some insanely amazing chops after Kelly is shot by a suspect. I can't even put into words how much he goes into a tour de force of badassery, so I'll just do it in pictures:

But despite all that male feminism and working for the love acting, David Doyle was the best simply because made me smile. It’s not that the Angels weren’t funny (although they really weren’t, let’s be honest) but Doyle had terrific comic timing, and was never afraid to be the silly odd man out. After Kate Jackson left and the ratings began to dip, one forward thinking television columnist suggested that Bosley was the Angel’s Fonzie, and that his role should be expanded to exploit his character to its fullest potential. Bosley in a bikini with a holster? I’m in.

This is how I will always remember David Doyle, and with love.

This post is part of the TV Sidekick Blogathon, which is hosted by the fine folks over at the Classic Film and TV Cafe. Check out the rest of the amazing entries by clicking here.

A Very Merry Me TV Blogathon: Father Dowling Mysteries: The Christmas Mystery

This blog post is part of A Very Merry MeTV Blogathon hosted by The Classic TV Blog Association. Check out the blogathon schedule here and make sure to check out all of the great MeTV holiday programming here!

Although it doesn’t capture the milieu to a T, I always considered Father Dowling Mysteries to be a part of the cozy mystery movement of the late 1980s. Of course, Jessica Fletcher of Murder, She Wrote, the rebel and trendsetter that she is, gave America a nice antidote to the glitzier, neon-soaked detective shows of the same era. I’m not saying she’s the first to serve murder with a comforting cup of tea, but she certainly set the tone that would be followed by a lot of fun small screen sleuthing. Matlock and Diagnosis Murder were two other ridiculously popular shows that veered slightly from the formula, but still managed to make murder and mayhem seem like a warm crocheted blanket. Father Dowling also had all of the right ingredients to knock it out of the park (and even featured MSW regular Tom Bosley who exchanged his sheriff’s badge in Cabot Cove for cleric gear in Chicago). With its untroubled tempo, church setting and laid back “Let the Father do the driving” mystery stories, Dowling was an underrated charmer. But because of a galdurn writer’s strike and a network switch, the good Father was lost in the scheduling shuffle and ended after 3 seasons (the first two only half seasons), producing 42 episodes.

The setting and occupation of the main characters made a Christmas episode either the most obvious idea ever, or the worst thing that could happen (depending on your threshold for murder on the holiest of holy days). Luckily for fans of Father Dowling, it was done just right, with an attempted murder, a couple of pistol packing Santas, and the amiable and capable Nun-named-Steve keeping watch over a trouble little boy. The holiday was in full swing, and it was good times indeed.  

The Christmas Mystery, which originally aired on December 13, 1990 on ABC, opens with the season going strong, and the local department store desperate for holiday help. So fraught in fact, that they will hire you on the spot and put you on the sales floor immediately, or, apparently make you a security guard and hand you a gun! Single mother Wendy (Anne Kerry Ford) is desperate for work and relieved that the store wants her to start straightway, but she’s due to pick up her shy son, Brian (played by twins Christian and Joseph Cousins) from the airport. She asks Father Dowling for some assistance and he sends Steve (the completely adorable Tracy Nelson) on her way to retrieve Brian. However, while Wendy is changing for work, a security guard from the store knocks on her door, insinuates that the two have met somewhere previously, and then shoots her point blank!

Merry Christmas, right?

Back at the church, everyone becomes worried about Wendy and through a series of random, only-on-television events, Steve ends up stepping in for Wendy at the store. Steve does two things while she’s there: 1. Fix a doll for a kindly old woman, and 2. Sniffs out a Santa with a gun! This girl is on it, they should hire her full time! Meanwhile, Dowling visits Wendy’s home and finds her sprawled on the floor, possibly at death’s door. But while connecting the pistol-packing Santa to Wendy may seem like a stretch that can only happen with the greatest of faith, Father Dowling and company are on the case, and should have things wrapped up just in time for gift giving!

Fast, good-natured and perhaps a little trivial (in a good way), The Christmas Mystery is absolutely delightful, and must be viewed with a cup of eggnog and a cat snuggled at your feet. Strife has never been so fun, easy and overloaded with major shoulder pads!

This episode may stand out to small screen connoisseurs for a few different reasons. The Christmas Mystery was written by the great Brian Clemens, who gave us The Avengers, and the excellent British anthology series Thriller (check out my review for Dial a Deadly Number). If anyone can spin a twist, even a mild one, into something substantial, and even menacing, Clemens is the one. When it is revealed how Wendy knows her attacker and how her son is involved, there’s a great “GULP” moment. And even though it’s followed by a mediocre maybe-chase that ends in a storage room, the thrill is still there.

The Christmas Mystery was also directed by TV stalwart James Frawley who is probably best known for directing the bulk of The Monkees brilliant two-season run. There’s no psychedelic chaos here, but it is wonderfully paced and kept light as air with fun performances and a few interesting set pieces. But what kind of retro TV blogger would I be if I didn’t sing the praises of Tom Bosley who was one of the friendliest faces of 1980s television! From Mr. C to Amos Tupper to Father Dowling, Bosley was always a sight for sore eyes and a great treat to watch. Although, I would have to say this is really Nelson’s episode. Steve throws herself into the mix, never loses her cool and although Dowling inevitably saves the day, I’m pretty sure Steve could have done the same.  

The Christmas Mystery is airing tonight (December 7th) at 9 PM EST and PST and 8 PM CST and MST on MeTV, so grab your eggnog and favorite kitty, and enjoy!

The Baxters (1979-1981)

When I think about the 1970s (which, as you might guess, is a lot), sometimes the words “Let’s rap” ring softly through my head. While that phrase may seem mawkishly silly by today’s standards, 70s rapping could be intense, polarizing or even enlightening  (for a modern reference, it is basically like facebook but with actual faces, and maybe a book). But, before you get all “Can you ironically dig it” on me, let’s discuss The Baxters.

  
The Baxters was a syndicated program brought to national attention by Norman Lear. The Baxters were a traditional family unit who were dealing with many of the same heated issues that the show’s audience members were also struggling with. Women’s rights, teenage sex, alcoholism, and even labor strikes brought up various He Said/She Said conversations that would end without resolution about halfway into the 30 minute running length. At this point, each local station that aired the show hosted an audience who discussed the family's situation. Groovy rapping commenced.

Conceived by Boston Broadcasters, Inc., The Baxters was first locally produced in 1977 before Lear came into the picture in 1979. He loved the idea of the show and picked it up because he felt it was “the comedy and the tears in the reality of our lives.” And, as you know, he also believed that using comedy to explore topical issues brought out the themes in more overt ways, so the audience never had to suss out the meanings, which served to enrich the on-point conversations. 

The first national season of The Baxters consisted of a husband and wife (played by Larry Keith and Anita Gillette who would go on to drive me insane on Quincy M.E.) and three children, an older teenage daughter, who was adopted (Derin Altay), a younger teenaged son (Christ Petersen) and a ten year old daughter (Terri Lynn Wood). One of the series’ biggest selling points was that the time each episode spent discussing an issue (approximately using 51% of the allotted airtime) fulfilled the local station's agreements that they would air a certain amount of public affairs programming per week. That’s a pretty brilliant sales pitch.

However, due to poor ratings, The Baxters was cancelled after one season. Then, a Canadian company picked it up and produced it in Ontario. This season introduced another Baxter clan led by Sean McCann as the patriarch and Terry Tweed, as the mother who was returning to work. They also had three kids of the same ages as the first family's children, played by Marianne McIsaac, Sammy Snyders (of The Pit! Oh. Em. Gee.) and Megan Follows. Again, the show could not gather up enough interest and was cancelled for the final time in 1981.

Despite disappointing ratings, many look back on The Baxters fondly. Mostly viewers remember the experimental sitcom/discussion show hybrid as groundbreaking and fascinating because it engaged real people in very contemporary debates. The Museum of Classic Chicago Television has unearthed the episode Women’s Roles in Marriage! This particular episode aired in Chicago on March 16th, 1980, and I’m thrilled it's available in its entirety. You can watch part one here, and then you can move over to the discussion portion here. 

Some of the topics discussed on The Baxters that I would like to review are spousal abuse, marital affairs, and alcoholism. Even by syndicated standards, the show seemed a little clunky, even then. But, and for many of the same reasons that I enjoy watching retro game shows, I absolutely love seeing the real people of this era. We were a gorgeous bunch! In the episode posted by the Museum of Classic Chicago Television, the banter between audience members is fairly light, but it’s interesting to note the guy who creates a bit of a stir when he accuses working women of spending both their own salaries and their spouse's (even suggesting that career women tend to keep their own money in a private bank account for themselves). He also states if it's the man who is working, it’s the man who gets to spend the money, and Mrs. Baxter should probably ask for his permission before she touches any of it (even if it's on something both parties had agreed to purchase!). While I disagreed with a lot of what he said, I have to admit, he brought out the then-growing cynicism towards marriage by pointing out the contractual nature behind matrimony. Also, in the days before Jerry Springer, it was nice to see people mostly grumble and politely respond instead of breaking chairs and throwing punches. The seventies were certainly not perfect, but I will always embrace a good rap session, and it looks like The Baxters had plenty of it!

What I'm Waching Now (and Why I'm Not Blogging as Much): Hart to Hart, As the Hart Turns

I’m not sure anyone keeps track of these things, but I haven’t been posting as much lately (although my facebook page is hopping, so remember to stop on by and like it!). This is because I am, yet again, in the throes of another interstate move. Since 2010, I have moved from California to Maryland to Pennsylvania, and now I’m heading to Texas. Austin, that is. And despite the fact that I’ve unloaded about half of what I used to own (I do miss you, VHS), I’m still packing like a madman, and I haven’t found much time to write or even to watch a full movie.

Calgon, take me away... and throw in Jonathan Hart!

Thankfully, there is so much episodic television that I need to visit and revisit, and those little 45 minute bursts of delight have been getting me though every box-building day I’ve had over the last two weeks or so. I have enjoyed many shows in this brief time, marathoning everything from Happy Days to Trapper John to General Hospital (there is nothing quite like binge watching a soap. My dreams are filled with melodrama). So, why not Hart to Hart? It was definitely one of my favorite shows when I was a kid, and, honestly, it remains so today.

Afternoon Delights!

And speaking of soaps, there is one Hart to Hart that always makes me squeal with delight. The episode is titled As the Hart Turns and originally aired in the fourth season on March 1st, 1983. I love this episode mostly because of the way it playfully handles the soap genre within the series own mystery format. And I always love how Jennifer manages to find herself in these random, but somewhat glamorous, pickles.

Mrs. Hart hard (hart?) at work

As the Hart Turns goes behind the scenes of a popular soap called Doctor’s Hospital, a show that almost everyone on the planet watches. Max (Lionel Stander) is one of the serial’s biggest fans and he lures Jennifer (Stefanie Powers) into its clutches. Before you know it Jonathan (Robert Wagner) can’t get a word in edgewise between 2:30 – 300 every weekday. It is certainly kismet when Jennifer wins a raffle to appear on the show. As you can guess, she’s a natural, but her journalistic knowhow is what gets her a job as a writer on Doctor's Hospital (as if it was this easy… I do love you 80s TV). She’s really there to help the head writer iron out the bumps in one of the stories, but before you know it, she’s working on the juicy murder mystery that will kill off one of the main characters. And that actor ain’t so happy about it. Mystery and intrigue hijinks ensue.

They must be serving plates of fabulous at this restaurant. Look at Jennifer's jacket!

This episode uses a few friendly daytime faces, including John McCook (The Bold and the Beautiful) and Leann Hunley (Days of Our Lives), but more importantly, it reveals how omnipresent the soap genre was in the mid-80s. Hart to Hart was often exclusively about the rich and powerful, as the gorgeous couple jet setted around the world, solving mysteries that were often tied to well-to-do evil doers. Their Jack-of-all-trades employee, Max was the everyman, but he was also a gambler, and lived a bit of the high life himself, as noted with his stubby cigars and penchant for the ladies. But in this particular episode, Jennifer and Max are bonded by their love of Doctor’s Hospital. Although Max was always close to the Harts, this was an interesting approach at breaking down their economic barriers. And Doctor’s Hospital pervades into every other walk of life too, from the exquisitely rich to the humble middle class, all linked by their desire to know who really killed Diana (which of course, we the real audience never find out, darnit). 

What is the lesson Mrs. Hart learned that day? Can soaps really bring the world together? Why yes, Jennifer, they can.

Freeway can't handle all the melodrama!

What I'm Watching Now: Emergency!

Sometimes life makes it difficult to commit yourself to even just one film. When I was in the midst of school, even taking 74 minutes out for a Movie of the Week was a daunting task. However, being the bull headed retro TV lover I am, I scaled back and made a compromise. I decided to just fall into the arms of episodic television. Even though these shows ran longer than the modern fare, they were still only 50 minutes apiece. Yet, I continued to struggle. (Look world, I needed a brain break, but I wanted to dive into the retro hues of 70s small screen offerings, can you help a girl out?) And, it was here in the throes of desired escapism that I discovered Emergency!

The first scene from the first episode of Emergency!

It was the perfect match for me. Although a single story tends to string an episode together (usually via funny moments at Station 51), the paramedics often jumped from one isolated rescue to the next. This meant that I could easily watch 20 minutes, get the meat of the story, and then drift off to academic dreamland (you know, where your dream has mathematics symbols floating amongst terminology like “hegemony” and “patriarchy”). All I had to remember from each episode is that Dr. Brackett is one dreamy cat and Dix ain’t taking your flack. It was easy-peasy!

Pitter-patter goes my heart...

After a few shots of the series, I became a full fledged junkie, staying up just a little later every night so I could venture farther and farther into the episodes. Before I knew it, I was wishing I’d gone to school to be a paramedic because I was so intrigued by the number of well organized boxes Johnny and Roy kept on their truck. I was also intrigued by Johnny and Roy who were adorable and heroic to boot! It was meant to be!

Adorbs.

I am ashamed to admit that I was woefully ignorant when it came to this series. I'm not sure why, but despite my love of small screen car accidents, general chaos and things that go boom, Emergency was not registered on my radar. But I've seriously made up for it in the last few months and have seen almost every episode (granted some were only in pieces, but I'm getting there). Recently, Me-TV aired the Emergency finale TVM, and I dug up a bit of trivia for a live tweet. I don’t want to force anyone to scroll through my feed, so here are the highlights of what I learned about the series:

Robert Fuller, who played Dr. Kelly Brackett said no one thought the series would be successful. In an interview he revealed, “Everyone expected us to fold after the first thirteen weeks. But we surprised ‘em!”

Brackett and Dix were an item in the pilot TVM. I think she feels the same about him as I do!

Did they ever! The show ran for seven seasons, and it never veered from its original formula. The chemistry between Johnny Gage (Randolph Mantooth) and Roy DeSoto (Kevin Tighe) was practically intoxicating and came from a very real place. The two actors remain the best of friends and Tighe was even best man at Mantooth’s wedding in the early 2000s. Do I hear, “Awwww?” I’m sure I do.

Emergency-cam!

Emergency co-creator Robert A. Cinader got the idea for a series when he was working on another project and interviewing firemen who seemed to have a lot of medical knowledge. Although we take it for granted now, the job of being a paramedic was a very new vocation in the early 1970s. With Jack Webb behind the production, the series took on that Webb-flair (if you will) of bare-bones procedural fare, and sometimes felt downright life-like. Cinéma vérité - Webb style!

God-cam!

When Emergency first aired on NBC on January 15th, 1972, there were only six paramedic units in the United States. The filmmakers were extremely serious about their programming and filmed in co-operation with the LA Fire Department. Many stories featured throughout the run of the series were based on actual events. This somewhat realistic approach is considered a catalyst for many who would become paramedics.

Zoinks-cam!

The filmmakers also hired Jim Page, an LA County Battalion Chief as their technical editor for the show. Mike Stoker (who played Mike Stoker!) was a real life fireman and a long-standing actor on the series.

The Stoker, yo!

Mike Norell, who played Captain Hank Stanley, is an accomplished TV movie writer. He penned several teleplays, including one of my faves, Three on a Date. Oh my gawd, it's love.

He might be putting out that fire, but he's ignited a different one in my heart!

Gorgeous singer Julie London was the ex-Mrs. Webb, and obviously remained on good terms with him because he invited her and her current hubby, the affable bandleader Bobby Troup to round out the cast. In an interview, London, who travelled a lot, said she embraced the chance to work on a series, stating, “I have three children at home and wanted to be with them instead of being a long distance mother from some hotel in a distant city.” She later commented that Troup, who played Dr. Joe Early (the slowest doctor ever) came to work with her even on days he wasn’t scheduled for filming. More awwws.

He might move a little slow, but Dr. Early rules. It's true.

Exteriors of the firehouse were provided by LA County Fire Department Station 127 in Carson, CA. The station house has since been renamed the Robert A. Cinader Memorial Fire Station. Rampart General was Harbor General Hospital, which is now known as the Harbor UCLA Medical Center in Torrace, CA.

For all your hospital action needs, please visit Rampart General.

As you may have guessed, the series has left a long and wonderful legacy. In 1972 a California Senator named Alan Cranston wrote a letter to Jack Webb stating, “Emergency has dramatized the potential of the paramedic.”

Paging the Gage Brigade... Paging the Gage Brigade...

Did you know that May 15th is Emergency Fest Day in Maryland? Well, it is.

Mantooth has a fan club who call themselves the Gage Brigade!

Malloy and Reed visit Dix at Rampart General.

Although Webb is most famous for his economical productions and deadpan delivery, he had a meta-moment on Emergency:

In the first episode titled The Wedsworth-Townsend Act, Officers Jim Reed (Kent McCord) and Pete Malloy (Martin Milner) from Adam-12 appear as a way to bridge the shows and perhaps attract curious Adam-12 fans. In this episode, the actors are clearly performing as their characters from the beloved series. And in an Adam-12 episode titled Lost and Found the Emergency crew repays the favor by appearing in an episode about a suicide hotline. However, in-between those two episodes, in the Emergency episode Hang Up, Johnny laments having to leave the station house right in the middle of an airing of Adam-12 for a rescue. It’s simply post-modern!

The guys of Station 47.

Also, Emergency’s legacy spread far and wide and into other non-Webb related shows:

The other day I watched a Quincy episode titled Cover Up, which originally aired on February 7th, 1980. In this episode, paramedics from Station 47 are called out to a bowling alley for a potential heart attack. They make their call to Rampart Emergency, but are told the patient seems OK so he can go to a smaller emergency room that is closer. Of course, with Quincy being a coroner and all, you can probably guess that this doesn’t end so well for the patient. Rampart would have been the obvious better choice!

All of that, just to say Emergency is streaming on Netflix and airing weekdays on Me-TV. It’s well worth checking out or rediscovering.

Luv.