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Archive for March, 2009

The Goldbergs Weigh In

Posted by William Rabkin on March 23, 2009

Much controversy about the infamous, never-to-be Scooby Doo/Diagnosis Murder crossover, all of it so far coming from various members of the Goldberg clan. Over at his blog, my former partner Lee has his own version of our prospective story, which has the dubious virtue of probably being true. It does make more sense that it would have been Jesse who was hallucinating that he was a cartoon character, but I have to say that I’m glad my mind doesn’t work in such a way that I could actually remember which of our actors we wanted to play which member of team Scooby after all these years. 

And then my boss Tod Goldberg was  kind enough to suggest in a phone call that if we had indeed done the cross-over, it would have been the “worst fucking thing in the history of television” and that Lee and I would have been on the front page of the New York Times under the headline “the men who killed TV.” I think he’s just bitter because he was planning on bringing Scrappy Doo into his next Burn Notice book and now he can’t.

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Yes, But We Almost Did It First…

Posted by William Rabkin on March 21, 2009

According to the new issue of Entertainment Weekly, Family Guy’s football-headed animated baby Stewie is going to appear on the Fox crime show Bones, apparently in a series of hallucinations suffered by David Boreanaz’s character. Which just goes to show that the world is still catching up with the edgiest drama series of the ’90s — Diagnosis Murder.

Okay, so maybe we weren’t exactly Birdland. But my partner Lee Goldberg and I were always looking for ways to play around with our format, especially around sweeps time. Our first great success on the show came when we took an old Mannix episode, used it as flashbacks, and brought Mike Connors and most of the guest cast back 20 years later to solve the case. (Yes, of course Mannix had solved it back then, but we cleverly neglected to include that clip… and came up with a solution of our own.)

So we were always looking for a stunt as good as that one. I had what struck me as a brilliant idea — a live show. Not done since the Golden Age of television. We spent weeks working on Dick Van Dyke to get him to agree, and then more weeks working on Viacom to persuade them that the publicity bump would be worth a potential budget overage… and pretending that the overage wouldn’t be that bad. We were cranking the final numbers and it looked like it was a go — when ER announced they were doing their own live show that sweeps. And unlike us, they weren’t planning on doing it the cheapest and easiest way possible. They were getting something like $14 million dollars per episode from NBC — more than ten times our budget — and they didn’t seem scared of spending it all that week.

So the live show was out, and we were missing a sweeps episode. I supposed we were talking about teaming Dick up with another classic TV character, but we’d already brought back both Mannix and Barbara Bain as Cinnamon Carter from Mission: Impossible. It was beginning to feel like a well we’d been to an awful lot.  Then someone had the idea — and I’m pretty sure it was me, because I’d been watching a lot of Dennis Potter at the time — that we should team Dick up with the greatest sleuth ever to grace a television set… Scooby Doo.

After a long bout of giggles, the story fell into place almost immediately. Dick’s character, Dr. Mark Sloan, would witness a crime, but before he could get away the criminal would attack and leave him in a coma. While the rest of the team searched for his attackers, Dick would be solving the crime in a series of hallucinations… with the help of Scooby Doo. There was one little problem, of course — we didn’t really have a lot of money in our budget for animated sequences.  Fortunately, Lee can pull up TV trivia faster than Google, and he remembered that an animated version of Dick had “guest starred” in a Scooby Doo episode back in the 70s. All we’d have to do was get the rights to the footage, then write new dialogue, with our supporting cast doing the voices for Shaggy and the rest.

It was shockingly easy to get our non-writing executive producer Fred Silverman to sign off on the idea.  Usually he was a little nervous when we started getting too “far out,” as he might say. But Scooby Doo was Fred’s baby back when he was running networks, and he still had a great fondness for the big lug. We were all set to go.

Except for one small thing. Hanna-Barbera, the independent studio that produced Scooby Doo, had somewhere along the line been eaten by Time Warner. And they were trying to get a live action Scooby Doo movie off the ground. It wasn’t that our episode could possibly have hurt their feature.  It’s just that no one at the studio felt like sticking out their necks to sign off on anything concerning the big dog until they knew exactly who was going to be in charge of the project, and who might get mad at them. It’s not like anyone over there ever told us no… but it was clear that we were going to be maybe’d and we’ll get back to you’d to death. After weeks of pleading, begging, and nagging, we finally had to face that fact that Mark Sloan would have to keep on solving crimes without the help of a Great Dane.

So now Bonesis meeting Stewie — which has to be a lot easier, since they’re both from the same studio. And the Mark Sloan/ Scooby Doo cross-over goes down as one of the two stories we were never allowed to do on Diagnosis Murder.

And the other? That’s for another post. For now I’ll just say it was so edgy, so controversial that Lee couldn’t bring himself to tackle it when he was writing DM novels…

Posted in Diagnosis Murder | 7 Comments »

It’s Not the Six-Year Anniversary of Anything, Dumbass

Posted by William Rabkin on March 21, 2009

All over the media, I keep hearing that Thursday was the “six-year anniversary of the Iraq war.”

It wasn’t.

Yes, it is certainly true that the sun has gone around the earth six times since we invaded. (Or is it the other way around? Note to self — ask that flat-earth lady from The View.)

But it can’t be the “six year anniversary” because THERE IS NO SUCH THING. Because the word anniversary means the yearly recurrence of an event, or the celebration of that recurrence. You know, because the root of the word comes from the Latin for year.

Granted, we’ve been hearing for a decade or two of stupid and hopeful dating couples who would celebrate their “two and a half week anniversary” because this was the longest that any of their relationships had ever lasted. But some reason, it seems that America has collectively decided to follow the lead of those by-now long broken up lovers.

So now we never hear about the first anniversary or the sixth anniversary — it’s the “one-year anniversary” or the “six-year anniversary.”

It’s not like we don’t have other words for celebration or commemoration. Just off the top of my head there’s celebration and commemoration. We only have one word for the yearly remembrance of an event. Or at least we did. Now we don’t have any.

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My New Second-Favorite Film Critic

Posted by William Rabkin on March 20, 2009

A. O. Scott in the New York Times has been on a roll lately — he also provided the quote about the Witch Mountain aliens in the post below — and is almost at Anthony Lane’s level of pith. In today’s review of Knowing he manages to encapsulate everything wrong with the average Nicolas Cage performance in one sentence:

But the odd thing about Mr. Cage in this movie is that even when he is responding to the threat of complete human extinction, you still can’t help feeling that he’s overreacting.

The whole review is worth reading, especially the paragraphs relating to Cage…

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Why Can’t the Aliens Learn to Speak?

Posted by William Rabkin on March 20, 2009

I’ve never put words in the mouth of a space alien.

Over my long and varied career, I’ve written dialogue for werewolves, vampires, succubi, dolphins, psychics, talk show hosts pretending to be actors, witches, warlocks, rat men, mole men (Paul Williams!), publishing executives possessed by the spirt of Captain Ahab, ghosts, zombies, trolls, and Jessica Alba. But no,  I don’t think I’ve ever written dialogue for a space alien.

If I did, though, I’m pretty sure that my space aliens would use contractions. Unlike, say, those in every movie and TV show ever made, up to and including the new Remake of Witch Mountain, or whatever it’s called:

They are Seth (Alexander Ludwig) and Sara (AnnaSophia Robb) and, like many others of their kind, their English is impeccable, though they are unable to use contractions or slang, or to refer to people by first names alone.

Why don’t they use contractions? So you can tell they’re aliens, of course — unless they’re Native Americans, who are also forced to enunciate every syllable. But this makes even less sense than super-children who can reach through metal and create force fields needing a taxi driver to take them to their rendez-vous spot. After all, where did these aliens learn to speak English? I’ve got to assume they’ve been monitoring our TV and radio broadcasts as they make their way through space. So what shows have they seen or heard where people speak perfect, non-colloquial English? Jerry Springer? Where would they have heard anyone talking like this? Even if their own language is completely inflexible and doesn’t allow variations on a single word, wouldn’t they have been more likely to pick up “don’t” than “do not” by watching the average week’s worth of TV?

And then there’s the thing with names. Okay, maybe they’ve all got one long name, and it’s simply inconceivable for their race to imagine such a concept as a nickname. But how is that creatures advanced enough to navigate the universe are incapable of learning a lesson as simple as this one? Because once an alien greets a human with “Greetings and solicitations, Shawn Spencer” (hey, got to get those Psych searches landing here…), and the human says, “No, it’s just Shawn,” and the alien says “I now comprehend Just Shawn,” it actually shouldn’t take many more words to clear up the confusion. Something like: “In English, we have a last name that we share with our family and a first name that uniquely identifies us. And if you want to pass unrecognized as an alien, it’s important that you learn this distinction.”

So why does this ridiculous conceit continue in movie after movie? Pure laziness. Writers, directors, and executives think they need a little characteristic that will make their aliens stand out as something different, but no so different that the army will start tracking them down the first time they ask a puny human to define what is this thing you earthlings call love. But it’s such a hideous cliche by now that you’d think even the aliens would have figured it out…

Posted in Jessica Alba, screenwriting | 1 Comment »

A Mind is a Terrible Thing to Read is a Terrible Thing to Sign…

Posted by William Rabkin on March 14, 2009

…but I’m going to be doing it anyway at this year’s Los Angeles Times Festival of Books. I’ll be at the Mystery Bookstore’s booth on Sunday, April 26 at 2 pm. And for your extra added entertainment, I’ll be joined by the two kings of USA Network tie-in novels — Lee and Tod Goldberg, authors, respectively, of the Monk and Burn Notice books. Stop on by for the trifecta — or walk right past them and come see me!

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A Message From Quality Control

Posted by William Rabkin on March 13, 2009

During my extended Galting period (see below), my editor sent me a query from Penguin Putnam NAL’s Customer Communications Department:

We have a consumer complaint about pages 210-213.  The consumer states that these are the only pages in the entire book that mention characters by the name of Kent Shambling and Nancy, and he says that there is no mention of these two characters leading up to this point and they seem to have nothing to do with the story.

I have to say I was a little taken aback. Pleased, certainly, that a reader had made it all the way to page 210 — as a writer, you want to know people are still with you into triple digits. And that someone cared enough about the narrative to write or call the publisher with this concern. (For those few of you who haven’t yet read A Mind Is A Terrible Thing To Read, let me assure you that the chapter is question is a modernistic leap into a new character’s point of view in order to tell a bit of story that does not directly involve Our Heroes, a technique I filched from either Virginia Woolf or Stephen King.)

But who knew that multi-national publishing houses had Customer Communications Departments? That if I found a bit of a book I didn’t like, there were operators standing by to take my complaints? If I wrote to the CCD at Farar Strauss Giroux and pointed out that after almost a thousand pages of 2666, I still didn’t know who killed all those women in Mexico, would they send me back the name of the murderer? If I suggested to Anchor that I’d be enjoying Enduring Love a lot more if Joe Rose wasn’t such a jerk to his girlfriend, would Ian McEwen zip out a new version where Joe apologizes for not realizing she has feelings too, and her bad day is just as important as his? Could they finally get Thomas Harris to apologize for writing Hannibal?

This has changed the way I approach literature. No more passive reading for me! From now on, I’m going to be an engaged consumer of books. Mr. McEwen, consider yourself warned…

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Gone Galt

Posted by William Rabkin on March 13, 2009

The rumors you’ve heard are all true: I did, indeed, Go Galt.  By which I mean (for those of you who don’t study at the feet of Michelle Malkin) that I took inspiration from the Second Worst Prose Stylyist in the English Language and withdrew my services from society in protest of a threat to return marginal tax rates on top earners to what they were a decade ago. You see, if all the creative, productive people were to simply walk away like John Galt in Atlas Shrugged, the theory goes, then the rest of you crumbs would fall into anarchy and chaos while We Chosen Ones would live in Smart People Paradise forever. Or something like that.

For two months I refused the world my creative genius on this blog. And what happened? The Dow plummeted. Unemployment skyrocketed. Paul Blart, Mall Cop became a massive hit.

Finally I realized that what I’d been doing was too selfish and too destructive to continue. I will no longer withhold my genius from the USA, and instead do my part to make us all better off. And I hope you notice that as soon as I began even thinking about coming back, the stock market jumped up. We Galt people are pretty powerful.

Oh, who am I kidding? Actually, I flipped to the end of Atlas Shrugged at Borders the other day and discovered that to really be John Galt I’d have to deliver a sixty page speech explaining the intricacies of my philosophy. (And that’s sixty pages of the smallest type visible without an electron microscope — if my Psych books were printed like this, they could fit on the back of a Cap’n Crunch box.) Since I have trouble stretching out my philosophy to fill a bumper sticker, I figured it was time to give up Galting…

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