Shows that went on way too long
"Californication" (seven seasons)
I found Ann Romney calling the Hilary Rosen controversy “a birthday present” a little odd. The outrage machine ginned up the culture war to defend Ann’s “choice” to stay at home, but she’s telling us she enjoyed it? She wasn’t really hurt and offended? If the president had declared a “war on moms,” as Republicans claimed, could she really experience that as “a birthday present”? Is it really all about Ann?
On “The Ed Show” last night I said it revealed Ann Romney’s sense of entitlement, that she would call such apoplexy “a birthday present.” But I hadn’t even heard the most entitled part of her interview with ABC’s Diane Sawyer, in which she exclaims, “It’s Mitt’s time. It’s our turn now.” In the same interview, her husband told Obama to “start packing,” rather presumptuously (who orders around the president?), but Ann Romney declaring “It’s our turn now” is even worse. Ann, the voters will decide that. Don’t order the car elevator for the White House quite yet.
On CNBC Tuesday night, the candidate himself sat down with former Reagan staffer Larry Kudlow for a mostly admiring interview. Although it was interesting that after Romney got through slamming the Obama administration for “scaring” American businesses and generally wrecking the economy, Kudlow asked him to explain why the stock market is soaring. “Right now what you’re seeing in stock prices is the fact that businesses are profitable,” Romney acknowledged. Despite Obama, of course.
But Romney had one of his great Romney moments when Kudlow asked him if he thought the gains would continue. He tried to quote Yogi Berra, you know, like a regular Joe. Here’s how it came out:
I’m not going to predict the direction of the stock market. I–you know, I always like to quote the Yogi Berra line or as close to it as I can, which is that Yogi Berra said, in effect, that he doesn’t like making predictions, particularly if the future’s involved.
“Yogi Berra said, in effect” is a perfect example of how not to quote Yogi Berra. That’s old Mitt winging it.
Here’s my conversation with Ed Schultz and E.J. Dionne about Romney Family Entitlement:
"Californication" (seven seasons)
"Entourage" (eight seasons)
Much like “Californication,” this man-centric show started strong and buzzy -- a perpetual nominee at the Golden Globes and Emmys, and a perceived gender-swapped “Sex and the City.” Then it ground on and on, and what might once have been read as a sophisticated satire of Hollywood materialism became a grinding conveyor belt of self-congratulatory guest-star appearances.
"Will & Grace" (eight seasons)
Hey, did someone say “self-congratulatory guest-star appearances?” Look -- it’s Jennifer Lopez, and Cher, and Janet Jackson, and Madonna! The latter seasons of “Will & Grace” effectively ruined the fun of watching the show in syndication now -- will it be a fun and jaunty early episode, or a later episode in which title characters enact an Ibsen play about having a baby together (really) while Jack and Karen meet one pop star or another? The fact that the show hastened a widespread acceptance of gay people that, then, made the show something of a throwback by the time it ended is one thing; the fact that the show itself seemed uninterested in relying on its actors’ sharp comic timing is quite another.
"The King of Queens" (nine seasons)
This CBS stalwart just kind of kept going, exactly as long as was needed to launch Kevin James’ film career. In the show’s final minutes, a formulaic sitcom became a mile-a-minute soap, with the central characters considering divorce and then having two children.
"Frasier" (11 seasons)
Though it ended strong, "Frasier" had something of the opposite problem as “The King of Queens”: While the CBS comedy chucked a whole bunch of plot at viewers toward the end, NBC’s Emmy magnet stayed stuck in familiar ruts, with Frasier questing endlessly for love and Daphne and Niles in fairly unthrilling domestic bliss. The jokes stayed good, but this maybe could have gone one or two years shorter.
"Weeds" (eight seasons)
As “Homeland” viewers may be learning, Showtime isn’t particularly good at keeping its shows coherent over time. (Maybe this is “Californication”’s issue -- we wouldn’t know!) This show changed settings and, effectively, organizing conceits so many times that by the end, it had few earnest defenders.
"Nip/Tuck" (six seasons)
This FX series, too, changed settings midway through, moving from Miami to Los Angeles four seasons in for no compelling reason. The show’s most gripping subplots had a way of petering out (remember the anticlimactic solution to the mystery of the Carver?), and its bizarre tendencies overtook any sense of fun.
"Glee" (five seasons and counting)
The series has, like its sibling show “Nip/Tuck” (Ryan Murphy created them both), switched locations, moving in large part to New York once its core cast graduated high school. But what’s the point of a high school series when the stars graduate? Despite some lovely moments, the show’s heat seems gone, and attempts to get back into the conversation (the school shooting episode, for instance) have been more desperate and tone-deaf than effective.
"Grey's Anatomy" (10 seasons and counting)
Here’s the thing: By all accounts, “Grey’s Anatomy” is not a creative failure. And it’s still widely watched. But when you begin your life as a world-beating hit, anything else seems somewhat marginal. “Grey’s Anatomy” has shed more regular viewers than many shows will ever hope to get in the first place (same’s true of “Survivor” and latter-day “ER,” to name just a few). Those who stopped watching once the Golden Globe nominations petered out may wonder why the show is still on; loyal viewers know better.
"The Simpsons" (25 seasons and counting)
Like the “Grey’s” doctors, the Springfield clan and their neighbors still draw a crowd. But “The Simpsons” is so omnipresent in syndication and in pop culture that the first-run series seems besides the point (not least because, though there are good episodes here and there, the show’s best days are universally agreed to be behind it -- like way behind it, in the 1990s).
"The Office" (nine seasons)
There was a natural break for this show, where it ought to have ended -- with the departure of lead actor Steve Carell in Season 7. The latter years were a creative fugue state, and as NBC’s Thursday night lineup continued to flatline in the ratings, one-time fans could be forgiven at their surprise that the adventures of Jim and Pam kept on unfolding.
"The X-Files" (nine seasons)
Once one of the show’s leads departs and has to be replaced -- as Steve Carell did on “The Office,” or David Duchovny did here -- the show faces a reckoning; if the lead is so central to the show’s plot as to make people wonder how the show could possibly go on, maybe the show shouldn’t. And even “X-Files” superfans might have been happier with fewer seasons of drawing out the conspiracy string toward a famously unsatisfying ending.
Joan Walsh is the author of "What's the Matter With White People: Finding Our Way in the Next America."
Joan joined Salon in 1998 to become the first full-time news editor and became editor in chief in February 2005. At the end of 2010, she became editor at large, to
write full time. In the last couple of years she's had the privilege of debating conservative zealots on TV, from Bill O' Reilly to Dick Armey to Pat Buchanan.
As a columnist for San Francisco Magazine, she won Western Magazine Awards in 2004 and 2005 for writing about local politics. She's written for everyone from the Los Angeles Times and Washington Post to Vogue and the Nation.
Before she joined Salon, Joan spent many years as a freelancer. She also ran her own business, consulting to national foundations and nonprofits on education, community development and urban poverty issues. She's a crazy San Francisco Giants fan and co-wrote a book about the ballpark back in 2001.