TUBE YOUR ENTHUSIASM (23)
August 23, 2018
One of 25 installments in a series of enthusiastic posts analyzing and celebrating a few of our favorite TV shows from the Fifties (1954–1963).
In the early 1980s, as a young adolescent, I was either raised to be or was independently turning myself into a funny sort of film snob. I stayed up late to watch classics on channel 11, a local station from NYC, so it seemed extra classy. I taped them and watched them over and over; among these were Hitchcock’s movies. I had begun to care about directors, about whose craft I knew in reality quite little, but pretended expertise. I had opinions.
And I was devoted to the reruns of Alfred Hitchcock Presents, an anthology show created in the 1950s by the master, who thought television a wonderful medium. There were A-list directors (Hitchcock himself directed only a small percentage of the episodes), writers, and guest-star actors on each week. A staple of thematic plotlines, some of which echo Hitch’s movies, sustained the show for five seasons: permutations on murders planned or in process, theft and swindles, young cheating wives, two-timing husbands, snoops suspecting murders, wrongly accused, wrongly killed, people thought to be dead who aren’t, even a man who buys a painting that’s a likeness of his long-missing wife. They were dark. Hitch performed an introduction to each show (he called them “our little plays”) and a conclusion, bracketing the stories with his trademark self-ironizing pompousness and morbid humor.
Watching them again now, I am struck by the formal oddity of where the dramatic stories end. It’s a short time slot, a network show in the ’50s. A degree of clarity is expected. The dramas on AHP are wildly unclear. They tend to end at a moment when it’s inevitable that something unfortunate is going to happen, or the unfortunate thing is going to continue happening, and then it’s a wrap, and Hitch comes on and says the equivalent of “and you might imagine, that didn’t end well.” I puzzle over this now in a way I did not as a kid: Why end before the ending? As a writer, as an avid consumer of narratives in every form, I tend to both write and like unresolved endings. I will shout “CUT” five minutes before the true ending of a movie, where, in my view, it should end, before the wrap-up. I would end before Hitchcock’s exit monologue. As he could not possibly on network television in the ’50s, but I bet he would have rather done. Needless to say this is not appreciated by whomever is watching the movie with me. But I am right. I learned it from the master.
TUBE YOUR ENTHUSIASM: Series Introduction | Luc Sante on LOONEY TUNES | Chris Spurgeon on THE THREE STOOGES | Adrienne Crew on MY THREE SONS | Barbara Bogaev on ROCKY & BULLWINKLE | Devin McKinney on THE TWILIGHT ZONE | James Hannaham on THE NAT KING COLE SHOW | Mimi Lipson on THE BEVERLY HILLBILLIES | Jessamyn West on THE JETSONS | Gary Panter on THE OUTER LIMITS | Peter Doyle on THE MANY LOVES OF DOBIE GILLIS | Mark Kingwell on ROUTE 66 | Josh Glenn on THE ANDY GRIFFITH SHOW | Lynn Peril on THE DICK VAN DYKE SHOW | Rob Walker on LEAVE IT TO BEAVER | Dan Reines on DAVEY & GOLIATH | Adam McGovern on HIGHWAY PATROL | Erik Davis on HAVE GUN — WILL TRAVEL | Greg Rowland on THE PHIL SILVERS SHOW | Annie Nocenti on THE AVENGERS | Elizabeth Foy Larsen on GUNSMOKE | Sarah Weinman on NAKED CITY | Douglas Rushkoff on THE HONEYMOONERS | Kio Stark on ALFRED HITCHCOCK PRESENTS | Gordon Dahlquist on PERRY MASON | Brian Berger on CAR 54, WHERE ARE YOU? | CODA: Crystal Durant on Marc Anthony & Pussyfoot shorts | CODA: Mike Watt on “A Stop at Willoughby”
FERB YOUR ENTHUSIASM (1Q2021): STEVEN UNIVERSE | TOP CAT | REN & STIMPY | SHE-RA | DRAGON BALL Z & 20 other animated series. CARBONA YOUR ENTHUSIASM (2020): “Sex Bomb” | “Going Underground” | “Soft South Africans” | “Typical Girls” | “Human Fly” & 20 other Seventies (1974–1983) punk singles. KLAATU YOU (2020 weekly): ZARDOZ | METROPOLIS | DARK STAR | SINS OF THE FLESHAPOIDS | SOLARIS | & dozens of other pre-STAR WARS sci-fi movies. CONVOY YOUR ENTHUSIASM (2019): THE TAKING OF PELHAM ONE TWO THREE | ROLLERBALL | BLACK SUNDAY | SORCERER | STRAIGHT TIME | & 20 other Seventies (1974–1983) action movies. SERIOCOMIC (2019 weekly): LITTLE LULU | VIZ | MARSUPILAMI | ERNIE POOK’S COMEEK | HELLBOY | & dozens of other comics. TUBE YOUR ENTHUSIASM (2018): LOONEY TUNES | THREE STOOGES | THE AVENGERS | ROCKY & BULLWINKLE | THE TWILIGHT ZONE | & 20 other Fifties (1954–1963) TV shows. WOWEE ZOWEE (2018 weekly): UNISEX | UNDER THE PINK | DUMMY | AMOR PROHIBIDO | HIPS AND MAKERS | & dozens of other Nineties (1994–2003) albums. KLUTE YOUR ENTHUSIASM (2017): THE KILLERS | BANDE À PART (BAND OF OUTSIDERS) | ALPHAVILLE | HARPER | BLOW-UP | & 20 other Sixties (1964–1973) neo-noir movies. #SQUADGOALS (2017 weekly): THE WILD BUNCH | BOWIE’S BAND | THE BLOOMSBURY GROUP | THE HONG KONG CAVALIERS | VI ÄR BÄST! & dozens of other squads. GROK MY ENTHUSIASM (2016 weekly): THE THEORY AND PRACTICE OF LUNCH | WEEKEND | MILLION YEAR PICNIC | LA BARONNE EMILE D’ERLANGER | THE SURVIVAL SAMPLER | & dozens more one-off enthusiasms. QUIRK YOUR ENTHUSIASM (2016): “Tainted Love” | “Metal” | “Frankie Teardrop” | “Savoir Faire” | “Broken English” | & 20 other Seventies (1974–1983) new wave singles. CROM YOUR ENTHUSIASM (2015): DARKER THAN YOU THINK | THE SWORD IN THE STONE | OUT OF THE SILENT PLANET | THIEVES’ HOUSE | QUEEN OF THE BLACK COAST | & 20 other Thirties (1934–1943) fantasy novels. KERN YOUR ENTHUSIASM (2014): ALDINE ITALIC | DATA 70 | TORONTO SUBWAY | JOHNSTON’S “HAMLET” | TODD KLONE | & 20 other typefaces. HERC YOUR ENTHUSIASM (2013): “Spoonin’ Rap” | “Rapper’s Delight” | “Rappin’ Blow” | “The Incredible Fulk” | “The Adventures of Super Rhyme” | & 20 other Seventies (1974–1983) hip-hop songs. KIRK YOUR ENTHUSIASM (2012): Justice or vengeance? | Kirk teaches his drill thrall to kiss | “KHAAAAAN!” | “No kill I” | Kirk browbeats NOMAD | & 20 other Captain Kirk scenes. KIRB YOUR ENTHUSIASM (2011): THE ETERNALS | BLACK MAGIC | DEMON | OMAC | CAPTAIN AMERICA | & 20 other Jack Kirby panels.