Television in 2005 matured from adolescent to midlifer. Like the baby boomers it helped raise, TV awoke to the idea that it had competition from newer, more agile gizmos.
Then again, modeling sleek, wall-size flat screens, TV never looked better.
The year marked a turning point, both onscreen and behind the scenes. Technology spurred change, as did the passage of time.
The suits tried to sell the turnover as turning a page, but we knew it was the end of an era: White male anchors who led their respective networks for decades gave way to newcomers – in some cases clusters of newcomers – seeking fresh (read: younger) audiences. CBS chief Les Moonves talked about a necessary “revolution” for the creaky institution that is the evening news.
Dan Rather departed under a cloud. Tom Brokaw retired but has been back with primetime documentaries. Peter Jennings signed off, telling viewers of his lung cancer, then died four months later. When Rather and Brokaw accepted a standing ovation on behalf of the anchor triumverate at the Emmy Awards in September, a 30-year run officially ended. By year’s end, Ted Koppel left, too, and Anderson Cooper displaced Aaron Brown on CNN.
“Gravitas” became so last millennium.
The hardware was at times more intriguing than the programming. “Platforms,” that is, the ways we get our stuff, multiplied. Whether video iPod, cellphone, DVR, laptop, TiVo, video on demand, wireless radio or handheld PC, the delivery systems by which news and entertainment are relayed are evolving quickly. Distributors are rightly nervous.
Just as TV comedy was about to be declared dead (again), NBC’s “My Name Is Earl” and UPN’s “Everybody Hates Chris” revived the form, thanks to cheeky voice-over narration, cleverly drawn characters and stinging social commentary laced between laughs. Similarly, as UPN was about to be pronounced DOA, “Everybody Hates Chris” and “Veronica Mars” breathed fresh ratings life into the mini-network, boosting it to beat The WB.
“Dancing With the Stars” proved reality TV doesn’t have to be about backbiting and naked aggression.
“Lost” found there is an audience for deeper, richer content beyond the initial broadcast, notably the Internet sites and video downloads that add to the couch experience.
FX’s “Nip/Tuck” carved a smart-aleck niche but was too grisly to appreciate. Bravo’s “Project Runway” passed the queer-eye test for camp entertainment.
Martha Stewart demonstrated you can have too much of a good thing. Geena Davis discovered America is ready to imagine a woman in the White House. Dave Chappelle learned that going AWOL can be a career boost. Larry David left us hanging: Was that perfect season ender also the series ender?
“Survivor’s” sharp concept, tight editing and clever production had legs while “Amazing Race” ought not to have messed with success. They’ll drop the family format and globe-trot again in 2006.
“Weeds” imagined what happens when a drug dealer who looks like Mary Louise Parker moves in next door. “Sleeper Cell” dreamed what happens when a terrorist who looks like Oded Fehr moves in next door. Both dramas suggested the long slumbering Showtime was waking to its potential.
Cheesily redesigned TV Guide proved the adage, “if it ain’t broke, don’t fix it.”
“Grey’s Anatomy” fed the hunger for a medical drama that isn’t “ER,” and for a youthful ensemble that isn’t “Friends.” Viewers know smart casting when they see it. (See also, the crowded, diverse cast of “Lost.”)
And “Arrested Development” turned out densely packed comedic gems in spite of Fox’s slaps. The network cut the number of episodes, benched the comedy during the November sweeps and won’t say whether it’s canceled. Rumors about ABC or Showtime picking up the Emmy-winning series continue unconfirmed.
Finally, no matter how many webcasts or downloads compete for attention, advertisers continue to pay big bucks to reach TV audiences. The paradox holds: Even as ratings decline, ad prices increase. For advertisers, TV remains the biggest game in town.
TV critic Joanne Ostrow can be reached at 303-820-1830 or jostrow@denverpost.com.
