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Shows that went on way too long
"Californication" (seven seasons)
As Trayvon Martin’s parents headed to Washington for a protest commemorating the 1963 March for Jobs and Freedom, their son’s killer was touring the factory that produced the gun he used to kill their son, and posing for celebrity photos while he was there. Fittingly, celebrity gossip site TMZ broke the news of George Zimmerman’s visit to the Kel-Tec factory last Thursday. Trayvon Martin’s killer is clearly enjoying his post-acquittal right-wing folk-hero status.
Meanwhile, his brother jumped on the bandwagon of white grievance-mongers playing up the alleged racial angle of the murder of Australian baseball player Chris Lane, who was killed by three young men, two black and one white. “Mainstream media is side stepping the fact that one of the alleged murderers openly professed on social media to ‘hate’ white people,” Robert Zimmerman told the Daily Caller. “Which one of these three teens looks most like Obama’s theoretical son?”
I’m sorry, America, we’re stuck with the Zimmermans. They won’t go away. Rather than recoil from his status as the man who shot an unarmed 17-year-old, George Zimmerman is enjoying his celebrity, while Robert Zimmerman continues to collaborate with the right-wing media-entertainment complex to make his brother out to be the real victim in Sanford, Fla., last year – the victim, first, of “thuggish” Trayvon Martin, and then of civil rights leaders like the Rev. Jesse Jackson and Al Sharpton, as well as Martin’s parents.
Somewhat surprisingly, Zimmerman’s attorney Mark O’Mara released a statement criticizing his client for his gun factory visit in harsh and vivid terms. “We certainly would not have advised him to go to the factory that made the gun that he used to shoot Trayvon Martin through the heart,” Shawn Vincent, a spokesman for attorney Mark O’Mara, told Yahoo News. “That was not part of our public relations plan.”
I don’t recall O’Mara playing up the fact that the 17-year-old Martin was shot, at close range, “through the heart” during the trial, but maybe he thought the dramatic statement might help distance him from what could be his client’s post-acquittal victory tour. (I should note Vincent’s statement to Reuters didn’t include those words.) With Yahoo News, Vincent continued: “We are George’s legal representation, but I don’t think he takes our advice on how he lives his life or what factories he decides to tour. We represented him in court. We got the verdict that we believe is just, and the rest of George’s life is up to George.”
Translation: Don’t blame us for whatever Zimmerman does next.
Part of what made the Zimmerman acquittal hard to take was the shooter’s utter lack of remorse for killing Martin. Even if you believed every word of his self-defense claim, it had to be hard to imagine having no regrets about the death of a teenager. Even Sean Hannity, who normally appears conscience-free, asked Zimmerman if he had “regrets” about getting out of his car and following Martin, which led to their confrontation and the boy’s shooting. “It was all God’s plan, and for me to second guess it or judge it,” Zimmerman told Hannity, his voice trailing off.
That’s the kind of cluelessness that would lead a guy to tour the factory that made the gun he used to kill Martin, and to pose grinning with a star-struck factory worker like he’s Frank Sinatra visiting a local trattoria.
It’s particularly sad that Zimmerman’s visit came on the eve of the 50thanniversary of the March on Washington, which was commemorated Saturday by a civil rights convening that included Tracy Martin and Sybrina Fulton, Trayvon’s parents. The issues of racial profiling, stop and frisk and “stand your ground” laws are animating a new movement for racial justice, and Martin has become a symbol of the way young black men are treated at the hands of police as well as vigilantes like Zimmerman. “Trayvon Martin was my son, but he’s not just my son, he’s all of our son, and we have to fight for our children,” Fulton told the crowd.
But to Zimmerman’s defenders, Martin is a symbol of predatory young black men, and Zimmerman is the hero enacting “God’s plan” to fight back. Not surprisingly, his brother defended his gun factory victory tour. “George is a free man and as such is entitled to visit, tour, frequent or patronize any business or locale he wishes,” Robert Zimmerman told Yahoo News. So don’t expect Zimmerman’s victory tour to end any time soon.
Joan Walsh is Salon's editor at large and the author of "What's the Matter With White People: Finding Our Way in the Next America." More Joan Walsh.
"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.
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