Actor David McCallum Dead at 90—U.N.C.L.E.’s Illya and NCIS’s Ducky Has Crossed the Pond

Twenty years ago this week, Donald Bellisario’s and Don McGill’s genius ensemble called “NCIS” premiered on CBS, a shot-in-the-dark gamble of a series based on a complex character of a determined yet troubled Marine, Leroy Jethro Gibbs with Mark Harmon as lead. McCallum was also included on the two-part story on Bellisario’s “JAG,” where the character originated.(Photo permission, CBS Press Express)

Harmon, still a young unknown, had come to their attention thanks to his four-episode role as Allison Janney’s love interest in “The West Wing.” To make “NCIS” come alive, with gravitas, Bellisario knew he could count on David McCallum to be the perfect counterpart to Gibbs, as medical examiner Dr. Donald “Ducky” Mallard.

Who better than the man who embodied cool under pressure, having played Ilya Kuryakin from 1964–1968 on “The Man from U.N.C.L.E.” His repertoire had included Shakespeare, and theatre productions of “The Lion in Winter” and “Julius Caesar.” The Glasgow, Scotland, native won the hearts of Americans in the 1960s with his cool, suave portrayal of Illya Kuryakin, secret agent, in the proverbial black turtleneck cast opposite the ultracool Robert Vaughn.

McCallum had a wonderful means of expressing himself with any dialogue he was given and for exactly the past 20 years, he “was” Ducky to this generation of Americans who adored his brilliant memory, tolerated his penchant for telling a three-minute answer in eight minutes (on the show) and his dapper portrayal of a man whose heart was always with the U.S. Marine, both throughout the show and beyond.

In many episodes of “NCIS” over the years, Ducky’s character provided closure when homeless Marines were killed in assuring that they received full military honors when appropriate. There were several occasions that showed Ducky attending the Marine Military Ball, which was a fund raiser for their scholarship fund.

Far more than a character actor, McCallum was a music professional, having studied oboe at the Royal Academy of Music. Sort of keeping it all in the family, given that his father was first violinist for the London Philharmonic and his mother a cellist.

Even beyond that, the music continues. His family with two women includes four sons and a daughter. With first wife, Jill Ireland, are sons Paul, Jason (d. 1989), and Valentine. With wife Katherine Carpenter are son Peter and daughter Sophie.

Son Val is a guitarist and singer-songwriter who is a veteran of many tours. He also has been a studio musician with Jackson Browne, Sheryl Crow, Lucinda Williams, Bonnie Raitt, and Loretta Lynn. Val noted that “My grandfather actually played on The Beatles’ track A Day in the Life”; “He’s also credited by Jimmy Page for suggesting using a violin bow on the strings of his electric guitar.”

Son Paul is a popular and respected guitarist, songwriter, and performer in Los Angeles, who favors jazz, blues, and some of his own compositions, which you can find on “Jazz Dogs” by the Paul McCallum Trio. Fellow musicians include Tom Buckner, Granville “Danny” Young, and Rod Harbour as well as Dave Smith and Doemenic Genova.

Son Peter told Sky News, “He always put family before self. He looked forward to any chance to connect with his grandchildren and had a unique bond with each of them.”

For 459 episodes McCallum sustained record-setting times for “NCIS,” a season beyond Harmon, albeit not in each episode of Season 19, for CBS and for all of us who know much of the dialogue from any number of these episodes.

More than a TV show, more than a standard entertaining procedural with strong plots thanks to brilliant show runners who assured the characters stayed true to Bellisario’s and McGill’s visions, “NCIS” was a part of family life for many on Tuesday nights (later on the show shifted to Mondays) and was the foundation by which audiences would later come to know and enjoy “NCIS: LA,” “NCIS: New Orleans,” and most recently “NCIS: Hawaii,” which has to be some kind of record for launching multimillion-dollar enterprises for one network. (Photo below by Michael Yarish)

Michael Weatherly shared on Twitter, “David McCallum made every moment count, in life and on set. Let’s raise a jug and celebrate a funny fantastic authentic man. I’ve only got 3 autographs. Connery, Tony Bennett and McCallum. … No one did it better. We were lucky to have him bring us Ducky. Let’s send all the love in the world to his beautiful family. Rest In Peace David.”

Brian Dietzen, who played Ducky’s mentoree, Jimmy Palmer, shared today on Twitter, “Such a kind soul and a terrific talent. You are missed beyond words, my friend. My heart just breaks today. Thank you for everything. Sending all my love to the McCallum family.” (Photo by Cliff Lipson, 2011, courtesy of CBS)

To anyone expecting a quote from Mark Harmon, they’ll have to wait until morning for the press outlets as neither Harmon, nor Gibbs, are on social media, but you already knew that.

As the character of Ducky was seen to deem, in his discussion with Gibbs about the fate of his massive personal fortune, it was to be given to the Marine Corps Scholarship Foundation, and in April 2015, the U.S. Marine Corps invited him to be the official starter for the Marine Corps Historic Half race. It is poignant and caring that the McCallum family “asks that donations be made to the Marine Corps Scholarship Foundation at http://www.mcsf.org — just as Ducky would have appreciated.

David penned his first novel “Once a Crooked Man” in 2016 and “recorded four albums for Capitol Records comprised of instrumental versions of hits at the time.” If that’s not enough, McCallum was a prolific actor and voice character for various movies, video games, and TV series. He was born September 19, 1933 in Glasgow, Scotland; the premiere of “NCIS” was September 23, 2003, which they are rerunning tonight on CBS—the episode is “Yankee White” and features Sasha Alexander at FBI Agent Caitlin Todd. And, he died September 25, 2023 in New York City at the age of 90. Wouldn’t you know it?

Today, by long-ago plan, CBS had declared this day and evening “NCIS Day” in honor of the 20th anniversary of the show’s debut. They are airing 3 episodes of the show tonight beginning at 7pm CST, “Yankee White,” “SWAK,” and “All Hands.” Longtime fans of “NCIS” already know what those episodes are all about.

Everything seems to have come full circle then, and right on time for airtime tonight.

Thank you and good night, David. God bless you.

Aaron Sorkin’s “Being the Ricardos” Reveals Lucy’s and Desi’s Real Love in Real Life

It’s always easy to be loved by lightning in a bottle; from within its confines, it reaches out, holds you, captivates you, becomes obsessed with you, and never lets you go. It has captured you. It is harder to love lightning in a bottle because it shines so brightly it blinds you; it projects warmth that you fear will one day leave you. It owns you; you don’t own it. Individually you are important; together you are magic.

This film from Aaron Sorkin and Amazon Studios is the story of a week in the life of Desi Arnaz and his wife Lucille Ball—a film of passion, turmoil, love from above the elemental plane of earth and sorrow that is resolute and inconsolable. [Photo credit: ft.com]

Having waited for two months after learning of the December 21st debut of Aaron Sorkin’s latest work of genius truly gave me something to look forward to. At one minute past midnight on December 21, I opened Amazon’s website to check if it was available.

Christmas came early this year, because all I had to do was click, and instantly I was transported back to my 1950s childhood. The opening scene introduces Walter Winchell’s breaking news that Lucy (referred to only as “the redhead” had been a member of the Communist Party. The second scene introduces the full cast and crew of “I Love Lucy,” and there’s brilliant dialogue that will delight TV trivia fanatics who definitely know, even if they hadn’t known before, who Rusty Hamer was.

Next, you see all the CBS executives and too many representatives of the show’s sponsor, Philip Morris in Desi’s office at Desilu Productions. Finally, we’re back on set for Day 1’s Table Read. Background music begins and triggers the process by which the show’s director, producer, and two writers along with the stage director interact. And for the next two hours, you will lose all track of time because there’s no place but the world of the Ricardos and the Arnazes that matters.

In the first 18 minutes, you’re about to learn the backstory of Desi as singer, movie star, and mesmerizing lady killer. For every pre-movie crank who claimed there was no chance that Javier Bardem would be believable as Desi Arnaz, pay up whomever you bet with because no better actor could portray Desi than Bardem.

Nicole Kidman’s portrayal of Lucy goes straight to the heart. Her presentation of the range of emotions that Lucy experiences in a week’s time is the height and depth of real-life angst and satisfaction from delivering what she knows she is capable of bringing. Not once during the movie did it occur to me that I wasn’t watching the “real” Lucy. Note: to those who think this movie reflects the TV show, there are multiple scenes that would never have made it past the CBS censors in olden days, but don’t let that be a reason not to watch.

J. K. Simmons has proved over and over again what a brilliant actor he is. He is so good that he managed to reveal the true heart and spirit of Bill Frawley, who virtually every fan of the show considers to be the lesser light and grumpy old man. In fact, Simmons’ Frawley is brilliant, insightful, compassionate, and actually funny.

So far that’s three Academy Award winners so who do we get for Vivian Vance? A Tony Award winner, Nina Arianda. This may be the first you’ve heard of her but not seen. You After numerous successful Broadway plays, Arianda brings accolades from movies and television as well. Her portrayal of Vivian is superb and explores the story thread that Lucy always wanted Viv to be more like the average American housewife than movie star, especially in a contract that specified her minimum weight.

As seen multiple times, Lucy’s skill in envisioning full comedy scenes from one line pitched by a writer to full scene is part of the brilliance of the show: “Lucy stomps the grapes” was written on an index card on the corkboard; how it “became” the “stomping the grapes” episode happened in Lucy’s mind.

Three writers and one dreamer added up to magic. Lucy was a stickler for detail in set design, show flow, use of scenery, lines that didn’t work, and the “moving parts of physical comedy.” As you progress in the film, you won’t “hear” Nicole; you hear the range and timber of Australian Nicole as the real Lucy.

Desi Arnaz received the credit he was due and the respect as a businessman he so greatly deserved. Sorkin made sure to show the behind-the-scenes role that Desi played as he functioned literally and substantially as Desilu studios’ President. He had no trouble leading (wait until you see how he handled “the Red Scare.”) No hints, no spoilers.

The dialogue flows: (Lucy to Bill Frawley) “Let me tell you something about Desi. He runs this show, every creative decision goes through him. Every business decision, the network, Philip Morris, and if that wasn’t enough, he is camera ready on Monday. Takes me five days to get a laugh. He’s killing at the Table Read. And believe me, that man is nobody’s second banana.” (Bill to Lucy) “And how many people know that? That Desi runs the show?”

Therein is the key to the major struggle in the Arnaz family at home. Home is a word that Lucy used often, wistfully, and it meant to her that it was a sanctuary for her and her family. For Desi, home was “the boat,” his home without her, as well as the stage at Ciro’s and everywhere he toured.

Once again, Javier Bardem kills as Ricky in his prime as a bandleader and performer. Whether or not Javier ever played the congas before this movie, thanks to coaching by the iconic Walfredo Reyes, Jr. (Chicago, Santana, Traffic), his playing of “Babalu” was perfect, down to the detail of loosening his bow tie during the “Ole, Ole, Ole, Ole” call-and-answer with the band. Later on, his version of “Cuban Pete” is another showstopper.

One unique aspect of the film is Sorkin’s inside look at the relationship between Jess Oppenheimer (writer and producer), Madelyn Pugh Davis (who just died this past April at age 90) and Bob Carroll, Jr., the three brains that wrote the dialogue that America memorized each week. Lucy and Desi brought life to the words, but a surprise reveal was the snarkiness and almost ridicule bordering on contempt that the brilliant writers showed Lucy…to the point of Desi having to have serious discussions with them about how disrespectful they were to her.

It was a bonus to see Linda Lavin portraying Madelyn Pugh Davis. Trivia fans will love that Madelyn Pugh was also known as Madelyn Martin from 1955–1960, as she was married to producer Quinn Martin, producer of “The FBI,” “Barnaby Jones,” and “The Fugitive, among at least 12 weekly shows he produced, another show-biz couple in the exact same business.

The character of Bob Carroll, Jr. was not a pleasant one--he eternally tried to take credit for any good idea the cast liked, unabashedly and unbelievably narcissistic. Perhaps the writers' slight jealousy was understandable as your face, name, and existence are known only to faithful credit watchers, and it’s beyond real to have anyone give the writers a standing ovation, even if they win an Emmy or an Oscar. And yet, great dialogue in the hands of the wrong actors, simply is not funny, no matter what. As has been said, all the stars in the sky must line up properly for the magic to happen. Here, magic was built on respect.

Respect was everything to Desi, not as much for himself, but for his wife and her talent. Sorkin’s dialogue captures that point and brings it home multiple times. That one tenet of faith that, at least professionally, was made clear was the unquestioned respect Lucy and Desi had for another and that’s where the love began. Offstage, it was easy to see where the love faded.

Lucy (with or without husband Gary Morton’s consent) stayed dear friends with Desi and his wife Edith. The two wives were very close and the blended families were often at Lucy’s home, so that everyone could visit with Lucie, Desi, Jr., and the grandchildren. Everyone had access to unconditional love in real life.

And yet, the acting and producing was also their real life. Lucy’s gift was comedy, not the Rita Hayworth and Judy Holiday stars that shone brightly on the dramatic screen. She resigned herself to that because she had a chance, one she demanded from CBS, to work with her real-life husband on a quality program that America fell in love with and shared with the rest of the world. The show was groundbreaking in so many ways, yet it remains fresh each time you see an episode today, even if it is the 34th time you’ve seen “Vitameatavegimen.”

When they worked together, they built an empire. It was Desi’s idea for the three cameras to shoot scenes more completely and the live audience would have an unobstructed view of the action. Occasionally Lucy’s dialogue would include stage directions and only then were you reminded that this was not real life you were watching.

Desilu Productions also produced “Star Trek,” whose shows remain almost as iconic today as “I Love Lucy,” and their reach is worldwide as well. Their “Mission Impossible” was the precursor to virtually every governmental secret agency show that would be developed for the next 60 years. For just three of their productions, that’s hundreds of millions of viewers amassed.

In its debut, “Being the Ricardos” is available on Amazon Prime today in the United States, Germany, Latin America, Paris, Poland, Portugal, Spain, and Italy. It’s a free film to Amazon Prime members, but I would have willingly paid $20 to watch it tonight. The Arnaz children, Lucie Arnaz and Desi Arnaz, Jr., are two of the Executive Producers of this film. Along with other key producers, we had “one more chance” to be with a favorite couple from our Baby Boomer childhood. Aaron Sorkin is once again synonymous with brilliance in show flow, dialogue, and comedy.

In 2017 Amazon Studios won its first three Oscars for their film “Moonlight.” Someone better make room at headquarters, because this film is bound to bring home trophies. Thanks for an early Christmas, Aaron, Amazon, and the Arnaz family.

Aaron Sorkin’s “Being the Ricardos” Is Sure-Fire Success

How would you like to go behind the scenes of the early days of Lucille Ball and Desi Arnaz’s life? Academy Award winners Nicole Kidman and Javier Bardem recreate the roles of one of America’s most beloved couples, which you can watch later this week in theatres or later this month on Amazon Prime Video.

In “Being the Ricardos,” Amazon Studios is flexing its powerful position in the online universe as an independent movie production house sufficient to draw the creative mind of Academy Award Winner Aaron Sorkin to create his latest masterpiece. Who better than Sorkin to research the lives of this unique married couple who turned television production on its ears early in the broadcasting industry?

Sorkin’s rapid-fire dialogue and effective storytelling pace guarantees a breathless race through all things Ricardo and Arnaz. Academy Award winner J. K. Simmons portrays William Frawley and Nina Arianda plays Vivian Vance.

As writer and director, Sorkin has found the perfect way to tell the real-life Lucy-Desi story set in a time capsule of just one week of their lives. Rarely are the powerful television producers, cameramen, or advertising sponsors (Philip Morris cigarettes) seen as weighing in on every aspect of the weekly production. Here, you go quietly behind the scenes to reality.

Some people forget that Desilu Productions was founded as a production company for the “I Love Lucy” show, or that Desi was an astute businessman and creative visionary. The pilot was produced for $5,000 via Desilu; Desi was the one who insisted on the three-camera shoot for the live tapings in front of audiences. He was the one who planned ahead to own their own episodes for potential rebroadcasting in subsequent years. Later, Desilu sold the rights to CBS; they also produced two more iconic shows, “Mission Impossible” and “Star Trek.”

So many who caught the show in reruns just thought of Arnaz as the real “Ricky Ricardo,” the guy who sang “Babalu” and played the conga, while Lucy tried to carry the comedy all on her broad shoulders. Most never knew that character actor William Frawley had a terrible battle with alcohol for much of his life prior to the show, but it was Desi who had a firm talk with him as a condition of his hiring that if he was late to the set or drunk on the set even one time, he was fired. Frawley arrived on time and sober for five consecutive years.

For Baby Boomers who grew up with the shows (most of them in reruns), the lives of Lucy and Ricky Ricardo and Ethel and Fred Mertz were revealed each episode to show just how strong a friendship was and how long one could endure when taken to the extremes each week. The show debuted on CBS on October 15, 1951 and signed off May 6, 1957.

Lucy’s primary role as comedienne who sought her turn at taking center stage as a singer/dancer/performer up against Ricky’s attempts to establish himself as a viable supper club bandleader led to sufficient plot premises to keep the brilliant minds of Madelyn Pugh, Bob Carroll, Jr., and Jess Oppenheimer busy for the first seasons. Then they added Bob Schiller and Robert Weiskopf to the team, and these five are collectively responsible for the 181 episodes of comedy history.

The next National “I Love Lucy” Day will be celebrated on October 15, 2022, and a special celebration takes place annually in Lucy’s hometown of Jamestown, New York. It’s noted that “at this very minute, somewhere in the world, Lucy and Ricky are arguing in 44 countries.” That’s a whole lot of ‘splainin’ to do, worldwide.

I look forward to seeing what Aaron Sorkin has dreamed up and how and what he shares of the Ball-Arnaz partnership in his newest project. He won my eternal respect with “The West Wing” (who among us has not binged at least one season’s worth of episodes?)

As if the topic isn’t enough to drive you right into the theatres, Lucie Arnaz, firstborn child of Lucille Ball and Desi Arnaz said, “Nicole Kidman became my mother’s soul; she crawled into her head. I don’t know how you do that. She cared very deeply about this part, it showed, and I believed everything she said. She looks beautiful…Javier Bardem…has everything that Dad had—his wit, his charm, his dimples, his musicality, he has his strength and tenacity, and you can tell from the performance that he just loved him. Everyone that Aaron Sorkin cast, right down to the guy who has one line, is perfectly cast.”

Produced by Amazon Studios, “Being the Ricardos” debuts in theatres on December 10, and on Amazon Prime beginning December 21.

Banal 2021 EMMY Awards Show Makes Us Long for the Grand ol' Days of the Big Three Networks

Truly, I gave it a fair shot. For the first year in at least the past five years, I tuned into The EMMY Awards broadcast on CBS on Sunday, September 19, the 73rd consecutive program that honors television’s best and brightest from the preceding year. I lasted exactly 36 minutes before hitting the mute button. Checked back in for the In Memoriam segment, which went well, the best part of the show.

I’d stopped watching what was once my favorite show of all time years ago, due to full boredom and pangs of regret at the (then) state of primetime programming. This year’s show open did manage to eclipse the level of stupidity that has now become its classic benchmark. Virtually everything nominated originated from Hulu, Netflix, Showtime, Peacock, or HBO Max alternate networks.

Ordinarily, Cedric the Entertainer is fine to watch, on Monday night’s laugh-tracked “The Neighborhood,” but he isn’t strong enough to carry the EMMYs. I gave my full attention to the program, but the only broadcast network mentioned was CBS among the nominees.

That and right before every station break, the voice, “Coming up next (a plea for you not to change the channel), so-and-so B-TV star whose name you don’t know,” followed by offstage emcee MC Lyte, saying “This is CBS!” No, it’s not the CBS I used to know and love. Not by a long shot.

Hoping to improve my attitude, I went retro and started YouTube-ing the days when I most adored TV shows, the best of comedy-variety-procedural-dramas across the board.

Do you remember the fun of upcoming season promo spots on all the major networks before each fall began? Especially during the 70s and 80s, the combination of catchy jingles and snippets of your favorite TV stars brought excitement and anticipation, just as they were designed and produced to do. You’d survived eight weeks of summer reruns and a few replacement shows, and now you were ready for renewal, almost in time for back to school.

The campaigns for each of the three primary networks had a theme and primary jingle but they would film three or four individual spots with previews of new shows, happy memories of returning shows, and truly the best of what was yet to come. The jingles were infectious, upbeat, and gave you a sense of genuine excitement for the coming season.

If you’d like to travel back in time with me perhaps you’ll remember and smile at what you see in these memory time capsules about what used to be some of the best reasons to stay at home for a program because we didn’t have access to VCRs back in the best days of the earliest shows.

CBS Is Easy on the Eyes (1973)

CBS—"We’re Looking Good,” #1 (1979)

“You and Me and ABC” — The 1980 ABC Season

NBC’s “NB See Us” (1980)

The welcome-back TV jingles preceding fall season debuts were played so often, whether three-minute, :30, or :15 clips to remind you that fall was guaranteed to turn your world around, if you’d just tune in faithfully.

The local affiliates could cut in their own material to blend in with the national ad, as they did here in Chicago and other cities during the Fall 1983 “CBS We’ve Got The Touch” campaign, a personal favorite.

In 2020, CBS underwent a giant rebranding, mostly to sweep out the memories of the unpleasant reign of…whatever…of former head honcho, Les Moonves. The powers that be hired an ad agency and came up with a more overreaching identity for the network that included all the content it produced for other networks to distribute, some CBS had full or part ownership in and others where they were willing to take a partial risk.

Behind the scenes, magic happens.

Frankly, the general public doesn’t really care who owns whom, and today, there’s no reason to rush home for live programming (even TV ratings count live plus 3 consecutive days’ viewing in their ratings registry) thanks to various on demand and recorded media streams. But there’s also now less loyalty to a particular network and its family of shows that has impacted the more transient nature of viewing.

Enter then, a new CBS campaign for the 2021 Fall Season, “Feel This Fall,” and it lives up to my expectations. As Jason Lynch of “Adweek” noted, “decades ago, the broadcast networks used to assemble their biggest stars each summer to record elaborate jingle promos to tout their fall lineups. Some four decades later, here we are with CBS’s best offering:

This season, I’m only looking forward to the 19th season of “NCIS,” the debut season of “NCIS: Hawaii” and the return of “CSI: Las Vegas,” and “The Equalizer” as well as “Young Sheldon” and “Blue Bloods” as things I’ll try to watch without recording and I’ll be grateful for those CBS shows. The only other show I’m anticipating off “Big 3” programs is the second half of the first season of “Leverage: Redemption,” the brilliant reboot of “Leverage,” a superb creation by John Rogers and Chris Downey, originally starring Timothy Bottoms. The second half of the show reboot's first season is set to premiere on October 8 on IMDb TV.

Personally, this 2021 coming season is a far stretch from the 20–25 shows I used to wait for in the 1970s with delighted anticipation, but the 300 extra cable channels streaming, flowing, and going along still don’t make viewing fresh content any easier to find. Football and basketball will fill in the blanks nicely. And then this past July, the Hallmark Channel debuted all their upcoming Christmas movies to anticipate so, I’m doing just fine.

PBS is a longtime mainstay for so many viewers, but I’m definitely a record-and-watch-later candidate as I can’t guarantee I’ll be in front of the set at a fixed time these days, a gift from programming teams who now make Live + On Demand + Digital Streaming a real thing for the average household.

Yet, some of my friends do not have cable TV. They don’t have an alternative such as Roku, Amazon Fire, Google Chromecast, YouTube TV, that you can acquire to fight the statewide behemoth Suddenlink. Fortunately, fiber optics, and finally some competition, is in our local future.

There’s still time to search for something I missed the first go-round on the nostalgia channels as well as Amazon Prime Video and IMDB.com. If there’s nothing new I want to see, fortunately, there are retro networks such as Antenna TV, GET TV, COZI TV, the Decades Channel, and others to take me back to Baby Boomer happy days.

Thanks to all the nostalgia channels for keeping many of these programs alive for generations to come to see what it is that used to preoccupy our attention and conversation the next day at school and work. That was CBS. Here's to Fall 2021 bringing back the best in original programming for procedurals and comedies.

Pauley Perrette’s exit as “Abby Sciuto” from “NCIS” is well timed

Devotees of “NCIS” know well that the No. 1 most popular procedural in America and beyond was created in the mind and from the heart of Donald Bellisario, a gifted writer and showrunner whose tendency toward perfectionism and temperament as Pater Familias caused more than occasional chaos and frustration in producing new dialogue for the actors to learn with 15 minutes until shooting. Or, so goes the legend and myth around his eventual exit after four seasons.

Bellisario, despite being the heart and soul of “Magnum, P.I.” (with co-creator Glen A. Larson), “Airwolf,” “Quantum Leap,” “JAG” and “found himself on the outside looking in" one day after four seasons, with his brainchild being entrusted to different talented personnel. After Bellisario left, Shane Brennan took over in Season Five, moving on to his own show with “NCIS: LA” and scoring a hit there. I still miss Bellisario's brilliant sense of humor and creativity. (Note: All photos by Cliff Lipson/CBS, courtesy of CBS)

It was Don's voice that was the "whoof" that you would hear at the beginning of the shows of the first season at least, indicating the scene changes. Bellisario actually placed his own photo on the "Most Wanted" wall of the NCIS squad room as one of the top enemies to search for, and he was also noted for his occasional on-camera appearances walking through. Remember the episode, "Call of Silence," which won an Emmy for actor Charles Durning? Don walked right past "Kate" before the "big dance" scene to his own amusement.

After all it was Bellisario's own father, Albert Jethro Bellisario, who became the A. J. of JAG Admiral Albert Jethro Chegwidden, and then using his father's and grandfather's names for Leroy Jethro Gibbs is oh-so-Bellisario. So much time has passed that it's relevant to remember who it was who created all this wonderment in his very creative mind.

Gary Glasberg then assumed leadership of “NCIS” and in his tenure before his untimely death at age 50 (in 2016) found a way to steer the show, despite the exit of both Cote de Pablo as “Ziva” and Michael Weatherly as “Anthony DiNozzo, Jr.” When Cote left, I remember well all the interviews that Pauley Perrette gave where she referenced “The Core Four” as having been integral to the show.

"The Core Four," of course, are Mark Harmon, David McCallum, Michael Weatherly, and Pauley Perrette. In the interim, the show stayed strong, and viewers welcomed, ultimately, Emily Wickersham as “Ellie Bishop,” who was clearly not intended as a replacement for NCIS Special Agent Ziva David, but the comparisons and emotional flailing about of some fans for a season or two eventually showed that Bishop could have a place in Gibbs’ heart, so why not give her a second chance.

That’s the key. The fans of “NCIS” have been loyal to this show for, now, 15 seasons, and CBS has inked the lifeline for Season 16, assessing a “let’s see how it goes” attitude for the one-year commitment. Fans read assorted blog posts, comment frequently on, and care deeply about the future of “NCIS.”

When Michael Weatherly first showed signs of looking around to his future, it came as an appearance as a smooth-talking felon on an episode of “Major Crimes,” a cable-TV favorite. His role was too much like the personality of wiseacre DiNozzo for comfort, so no one raved about it.

Then CBS decided to explore the fans’ loyalty to their individual characters, and they went musical. Yes, they did. Perrette and Weatherly each released a song, courtesy of the CBS Press Team, showing Perrette’s versatility as songwriter and singer, and Weatherly’s love of music going far beyond his performance of filing a report “reggae style” curbside to then NCIS Director Jenny Shepherd via earpiece. Neither found fame or further acclaim from the singing stint, but it could be that it was a programmatic attempt to keep fans aware that Michael is not “Tony,” and Pauley is not “Abby,” and that these are simply extremely talented actors portraying perfectly the characters who say the dialog written by people you never see and will never meet.

The secret to these beloved characters has always stemmed from the creative mind of Don Bellisario, and Brennan and Glasberg followed the path of the characters to play out the roles. Brennan was in for a year, one and done, onto his own show, “NCIS: LA,” which continues to be fresh, funny, and a same-but-different family feel that holds its own just as much as the original. Pauley Perrette and Mark Harmon as well as Chris O’Donnell, crossed over between the two shows, playing their same characters.

A failed pilot, “NCIS: Red” showed no ratings magic and the cast was as generic as “CSI: Kalamazoo,” or “Law and Order: Ice Cream Truck”…same base franchise name, no real variation. Then came “NCIS: New Orleans,” with Mark Harmon and Gary Glasberg taking a chance on developing a third show that would “stick” at least into five seasons to guarantee syndication. But then Glasberg died unexpectedly in 2016 at the young age of 50.

After the shows produced by Glasberg that were already in the can were released, CBS execs announced that “NCIS” would be run by veteran writers and executive producers George Schenck and Frank Cardea, who should be “any fan’s first choice” if Exec. Producer, Chas. Floyd Johnson didn’t want the job. Speaking personally, Johnson worked with Bellisario on so many shows, if anyone knew the hearts of these characters, it would be him. Yet, Schenck and Cardea wrote some of the strongest storylines and scripts over the course of the show, that they’re the “right” choice for the job.

And yet, the dimensionality of the show was up for grabs the season after “Bishop” came in. Weatherly likely saw the writing on the wall that if ever he were going to be known as anyone but DiNozzo, it better be “now.” When he left, it was to the guaranteed hit slot between two “NCIS” shows, and in a project that showed him looking and acting nothing like DiNozzo as the ersatz creation of former jury consultant Dr. Philip McGraw, aka “Dr. Phil.”

America loved Weatherly and it is through “Bull,” that his fans actually focus on his real name. They ‘know’ a real Dr. Phil, aka “Dr. Jason Bull,” so now the fans see Michael and know “Weatherly.” Smart move.

Cote de Pablo had likely left for the same reason so people would forever not be calling her Ziva. Wonder how well that has worked for her. An initial CBS project was a nice one-shot but not a series. She will return to the screen no doubt, but maybe film vs. TV. And so, what about Pauley?

After Cardea and Schenck blew up Ziva’s home (maybe Ziva, maybe not Ziva) and Tony went off to raise Tali in unidentified job, fans still tuned in to see the (now) core 2.5: Harmon, Perrette, and somewhat less of Ducky (McCallum). David McCallum continues to bring dignity and grace to whatever role he’s given fans over 50+ years, and he is a stellar actor. He was not pegged as Illya Kuryakin when he became Dr. Donald Mallard. Everyone has had plenty of time to watch Brian Dietzen grow and stretch perfectly in the role of Dr. Jimmy Palmer to be accepting of McCallum’s absences this season and potential retirement next season.

But in Season 14, if Pauley Perrette was ever going to feel her role diminished, it was proven so with the addition of three new NCIS agents (presumably to take the place of one Tony DiNozzo) in Alex Quinn (Jennifer Esposito), Nick Torres (Wilbur Valderrama), and MI6 agent Clayton Reeves (Duane Henry). That season was mostly a friendly clusterstorm of “remember how much you love ‘NCIS’…well hang in there with us while we figure it out.”

Esposito left and Maria Bello was brought in as a new character, Jacqueline (Jack) Sloane, who Gibbs can resonate with. FBI agent Tobias Fornell was weaved in and out of a few episodes and now that you’ve been reading for three paragraphs, where the heck was Abby Sciuto? Right? Entirely forgotten, dismissed, and irrelevant as the unnecessary but necessary forensic scientist in a role that anyone could play.

Abby had had no real major storylines in months and months, at least in my perception. And Perrette may have, wisely, seen that being a “favorite beloved character” all the time meant being forgotten. Her early announcement that Season 15 would be her last gave Schenck and Cardea plenty of time to give her a two-part season finale exit.

But, on Tuesday night, had I had an object in my hand to throw at the TV set, I would have tossed it that direction, given what the writers did to Abby’s character as the episode closed out. The “plan” and plot and dialogue was absolutely off-base, misguided and beneath the intelligence of the character Bellisario created.

Thanks to media access, I had seen a photo of the “Two Steps Back” (Part II after this week’s “One Step Forward”) finale. Abby’s not going to die. That much I know. Even so, the entire premise of the week’s cliffhanger is off target. Remember the show again. The show revolves around the true-life need for assistance to our nation’s veterans in multiple ways, which continues to not be met commensurate with need. The softer side and more back story to introduce viewers to more of Clayton Reeves’ nature set the predicate for Abby’s choosing him to go to the dinner she’d “won” mysteriously at the descriptively noted “Igloo” restaurant supposedly booked months in advance.

No one, not one person, questioned the way the pop-up came onto Abby’s screen, telling her she was the winner of this dinner for two? Abby is supposed to be a forensic scientist with particularly special computer hacking/restoring/repairing/recovering skills and she didn’t question a pop-up? Nope. The entire show drifts along leading viewers to wonder who she’d be taking as her escort. Remember they had her prior love interest as Bert, the very nice park ranger? No one had seen or heard about Bert since no one had seen or heard about Abby much. And, so…here we are after leaving Igloo, the one place she was easily going to be predictably found.

And this well dressed robber with carefully coiffed hair has a gun at both Reeves and Abby; Reeves sort-of steps in front of her to protect her, yet he moves away from shielding her to allow her to both interact with the robber and be in his perfect shot sight. An MI6 agent doing that? No, just no. C’mon George and Frank, you know better! Then, it’s not clear that the robber is homeless. But Abby talks to him about wanting and offering to get him help. Several seasons ago, Abby had interactions with a young homeless woman whom she was able to help, but “this” wasn’t “that.”

Fade to black. Commercials. Return to preview next week’s season finale. Gibbs whispers: “I know I let you down, Abbs. I said that I would always keep you safe.” Concerned looks on faces. Gurney with Abby entering hospital “She’s coding,” an offscreen voice says. Now, Frank and George…seriously? That’s the best you can do? Even caused E! Online to write the headline “Will Pauley Perrette’s Abby Die in Her Final NCIS Episode?”

Now, next Tuesday more will be revealed, and here’s a picture proving that Abby is alive. (Note: Photo by Patrick McElhenney/CBS, courtesy of CBS)

But if the premise for Abby’s leaving the only people she has as true family (Gibbs, McGee, and Ducky) is even the least bit hokey, the fans will likely let the showrunners hear about it. But, they didn’t have to shoot Abby to prepare viewers for her exit. Everyone knows she’s leaving. Imagine if she could have just grown up and moved on to a career position of her dreams somewhere so compelling that she would willingly leave her safe family behind?

Instead viewers are going to have to endure the return of some previous season miscreant who is “targeting ‘NCIS’ personnel” as the reason for this, the first hit of the planned shootings, trying to ruin Gibbs’ happy days, one team member at a time.

Col. Merton Bell is gone. La Grenouille is also, Ziva took out Ari Haswari, Trent Kort is gone, the entire gamut of people who had it out for Gibbs (hurt his family, hurt him) are seemingly gone, or are they? It’s not Benham Parsa. Harper Dearing (Richard Schiff) is dead, and the Phantom Eight went up with the almost-loss of McGee still inside the building, trying to back up the computer before running for his life. Sergei Mishnev was killed by Fornell. But, wait, is Alejandro Rivera (Marco Sanchez) dead or just in prison? The remaining member of the Reynosa cartel had threatened Abby once before. Could be he’s out of jail for good behavior and is ready to try to take revenge, again, against Gibbs for the death of his father, Pedro Hernandez and his sister, Paloma Reynosa. Five days will provide the answer, and you can count on the fact that he’s going down.

Pauley Perrette definitely picked the right time to leave. She’s not typecast forever as the loveable forensic scientist. As to her “real reasons for leaving,” they should be hers to keep. She left with grace and only pleasant things to say about her experiences that propelled her to a position of worldwide fame and acclaim. Life’s been tough on her, as well, during the fame, so there’s nothing wrong with wanting a “normal” life outside the world of flashing light bulbs of surreality.

Her plans aren’t a case to be explored ala “NCIS” style. An in-depth CBS “Sunday Morning” interview didn’t get one new iota of information out of her except she loves being with her chihuahuas and vague projections for the road ahead. Pauley has been a lovable, bright spot on Tuesday nights for 15 years, and she deserves to do whatever she wants to do.

Next season won’t be the last one for “NCIS”—as long as the scripts continue to bear quality. The Bello-Gibbs matchup is good for another season. Won’t miss Jon Cryer (the original “Ducky”) one little bit, seriously. Done and done. There have been hints and myths that Gibbs will leave the heart of the action and take on another more supervisory role, but most of all that is likely the fodder of the myriad of bogus online blogs masquerading as legit news sources. They’re filled with misspellings and incorrect facts, so forget them.

What does need to happen, imho, is for viewers to stop having to spend time on the backstories of Reeves, Torres, and Sloane, as most really, really don’t care. Great acting on the parts of the actors—nothing to criticize but gone are the days of the compelling backstories. Come up with some intricate multi-episode stories as you have been doing. Then, include Gibbs saying, “Grab your gear,” focus on the heart and soul of the primary characters, and let Abby be forever a fond memory and quirky character.

The character, Kasie, portrayed by Diona Reasonover, was introduced a few weeks back probably as a possible replacement. She will be fine and she won’t “name” her equipment (ala Major Mass Spec), but she’ll get the data to the team.

“NCIS” can endure as long as Mark Harmon wants to be there. His is the pivotal character around which the show was built. Without him, there’s no show. Farewell Pauley, and thanks for 352 episodes of fun.

The "real" Pauley, as beautifully captured for CBS "Watch" magazine by photographer Cliff Lipson, shows the lovely actress beneath the character. Pauley Perrette is wisely moving on, and she’ll find success in whatever she does in the future. Viewers have had 15 enjoyable seasons of a quality show, and this is in substantive measure to "The Core Four," who were there at the start. Ooh-rah, Abbs. And then there were two.

Mike Connors, star of action detective show “Mannix,” dies at age 91

I didn’t get the memo where my childhood was about to be flashing in front of my eyes at least two consecutive nights but here we are. Today, when the news came of actor Mike Connors’ death, it was sad. Sadder still was the Facebook trending topic—“Mike Conners”—as the social media millennials didn’t quite realize how his name was spelled. I’m convinced they couldn’t do a better job with Krekor Ohanian, Jr., which was his name at birth, on August 15, 1925.

No matter how well we think we know our childhood television favorites, because they’ve been in our living rooms as our guests all our childhood, we really don’t know them at all. And yet, we feel like they’re family, or at least I perceive many of us feel that way. And yet, at age 91, it’s not entirely unexpected that we’d lose another beloved actor at this point, but seeing it happen the day after we lost Mary Tyler Moore was sad.

Sources shared that young Ohanian served in the U.S. Air Force during World War II, and upon discharge attended UCLA on a basketball scholarship, majoring in pre-law. Legend has it he was discovered while on the basketball court. From the web site tvbanter.net,

"In an interview with the website Party Favors, Mike stated that after the game, Bill Wellman told the coach, "Ask the kid if he'd be interested in being an actor." When Connors replied, "Yeah, sure." Wellman promised to give him a call the next time he directed a picture." Days later, Mike was asked by the head of the UCLA drama department if he'd be interested in trying out for plays. Although a law student, Mike was soon bitten by the acting bug. He began taking acting lessons at the university and eventually gave up basketball for a career as an actor."

Ironically, the source failed to mention that Connors was playing basketball for iconic Coach John Wooden at UCLA.

This image is by Boris Yaro of the L.A. Times, at a dinner at the Beverly Hilton Hotel in 1973. Coach Wooden and his wife were the celebrities but clearly it was Mike Connors whose presence also brought an extra special spotlight to the occasion.

Mike met his wife, Mary Lou, in the 1950s when they were students at UCLA, as columnist Bob Talbert learned when he interviewed him. They had two children, son Matthew Gunner Ohanian (1958–2007) and daughter Dana Lee Connors (1960-).

At the time of the article in 1973, Mike was 46 years old and pulling in over $20,000 for each episode of “Mannix.” Imagine the modest weekly sum compared to the millions per episode earned by actors in half-hour episodes of “The Big Bang Theory.” Today’s actors have no real concept of what little the stars of yesteryear, beloved stars, and high-caliber dramatic actors at that, had to live on and make it last.

Nor, do any of these modern-day stars know what it was like to take the Sunday newspaper TV magazine or “TV Guide” and circle the episodes you wanted to make sure and watch each week. Printed on paper, not a sequence of shows scrolled through on your smartphone. But enough about the grand old days of Baby Boomer youth. Or not. Just one more thought.

The commitment of television stars to a TV series was driven by ratings and advertising dollars, then as now, and yet just like the compensation for professional athletes over the past 40 years, the discrepancy in base pay and reward pay is absurd. And yet, it’s the nature of the business.

Fortunately for audiences in the 1960s and 1970s, viewers could count on substantially more quality back then each week than today, when we complain because there are 300 channels and “nothing on worth watching” at times. In the 1960s and 1970s, you had CBS, ABC, NBS, and eventually PBS. And you got up and walked across the room to change the channel on your black and white. Middle America didn’t have regular color TV sets with remotes in every living room until many years later.

And, while we’re comparing, an episode of “Mannix” would stand up every bit as strong as does an episode of “NCIS” or even an episode of “Murder She Wrote.” in reruns today. Crime dramas are ever as popular among audiences today.

“Mannix” was co-created by the team of Bruce Geller, Richard Levinson and William Link. TV fans should recognize those names instantly. Bruce Geller, credited as “Developer” also created “Mission Impossible as well as wrote scripts for several popular 1950s and 1960s shows including “Zane Grey Theatre” and “Have Gun—Will Travel.” Geller was also a songwriter and scored stage plays in his talent repertoire.

You probably know Levinson as a writer and producer who, with Link, co-created “Murder, She Wrote,” and “Columbo” and “Ellery Queen.” William Link also created “The Cosby Mysteries,” which lasted for 18 episodes in the mid-1990s, and he wsa co-developer of “Ellery Queen.”

Now you remember the NBC Mystery Movie rotation with “Columbo,” “McCloud,” and “McMillan & Wife? For one year, 1970, the rotation included “Ellery Queen.” Those were the days of a guaranteed prime-time mystery for at least two hours each Sunday. So, looking at Mannix, you recall Joe Campanella in the first five seasons portraying Lew Wickersham and even Robert Reed was in 22 episodes as Lieutenant Adam Tobias, which was a breakout role for him. Of course, Reed would ultimately star as Mike Brady in “The Brady Bunch.”

One of the most progressive shows at its time, when few African-American actresses were cast in lead roles, Gail Fisher portrayed Peggy Fisher, Mannix’s assistant, whose husband was a police officer killed on duty.

“Mannix” ran from 1967–1975 and began as the final show produced by Desilu Productions, before transitioning to Paramount Television. In all, 194 episodes were filmed and broadcast. Just like “Mission Impossible,” the catchy opening theme of “Mannix” was written by the iconic Lalo Schifrin: There are bonus points if you remember what company Mannix initially worked for. (Hint: it begins with the letter ‘I’.)

Ironically, the show was almost “killed” by the people who brought it to life.

“ At the end of its fifth season, ‘Mannix’ has climbed to sixth in the overall rating game, a superb place. Last year CBS layed it in against NBC’s Mystery Movie (that means ‘Columbo’) and the ABC movie blockbusters like ‘Patton’ and Love Story.’ It was ratings murder even ‘Mannix’ couldn’t solve.”

Ironic, then, because “Columbo” was created by two of the three people who created “Mannix,” Richard Levinson and William O. Link. Don’t you know they had to be sitting there smiling all season? Either way, they won.

Precious free time away from filming the show (per the Cincinnati Enquire (8.14.73, page 29) would find the Connors family “watching son, Gunnar, play Little League shortstop and daughter, Dana, riding in horse shows.” Mike and Mary Lou also spent much time with dear friends Marty Allen and his wife, Frenchie, and they were often spotted eating at Nicky Blair’s on Sunset Strip and playing pinball at the arcade next door.

Another weekend both the Connors’ and the French families “flying to Dallas with Bob Hope to entertain some 500 POWs in the Cotton Bowl.” We who grew up in those days know, but millennials have no idea, of what it was like to have Bob Hope’s leadership in entertaining the troops when they returned home or were away from home overseas. He was always successful in securing America’s favorite entertainers and celebrities to join him in those tributes.

Outside of his acting, you couldn’t say that Mike Connors was a high-profile celebrity. He and his family remained cloistered away from the brighter lights and followed his instincts to live conservatively and save his money. In 2009, the four-time Golden Globe winner was interviewed by Bill O’Reilly, who asked, “Did you fit in with the Hollywood mentality?” “When you first got successful in this business, most people that I started with went off the deep end with big, fancy cars and houses they couldn’t afford, and I tried to stay away from that. I tried to realize that everything comes to an end and to try to accept what was there at the moment.”

Years before “Mannix,” Connors was the character Nick Stone in the TV show, “Tightrope,” an undercover police agent who infiltrated the underworld to expose gangsters and every episode he changed his name. It aired from 1959 through 1960 and was described as “He walks a tightrope between life and death as a police undercover man!” The show’s theme was composed by the great George Duning, and you’ll see from the credits he was billed as “Michael Connors.” You’ll enjoy the vintage “Aqua Velva” commercial, too as well as Connors’ pitch for Williams ‘Lectric Shave’ as the J. B. Williams Company also made Aqua Velva!

In the late 1990s, given his deep unforgettable voice, he was selected to voice the character Chipacles in the TV series Hercules, In 2007, Connors final credited appeared in an episode of “Two and a Half Men,” and my hunch is that Chuck Lorre had been a Mannix fan as a kid and well, you know. In 2009, Connors and his wife would celebrate 60 years of marriage and he joked, “The first 59 were the toughest,” adding, “I just try to enjoy life and realize how lucky I’ve been.” In 1976, Philadelphia TV writer noted that Connors “did a pilot for a series that was to have been called ‘Ohanian,’ about a former homicide detective who ran a charter boat service.” At the time Connors recalled “ABC convinced me that they wanted more action (than Mannix) in the pilot. Then when it ran, they said, ‘It looks like Mannix on the water.” That’s often a problem with actors who make a series or character so believably lifelike that they can easily get branded for the rest of their careers. At least the TV show was to be named for Connors’ real-life name, even though it didn’t end up as a broadcast series.

Connors was most proud of his Armenian roots, and in 2014, he was honored at the ARPA International Film Festival (presented by the ARPA Foundation for Film Music and Art), celebrating independent cinema, and in the beautiful tribute material online, they shared a favorite quote by Connors:

“If nothing else…just do the right thing.”

Absolutely, the wisest thing said all day. #RIP Mike Connors and thanks for all the years of entertainment you gave us.

Mary Tyler Moore, legendary entertainer and producer, dead at age 80

Is it okay to say you’ve lost a family member when that person isn’t even a relative? Well, she wasn’t a relative, but I’ve lost one of my very favorite actresses of all time, who at the very least was like a favorite cousin. The first years I ever “knew” Mary Tyler Moore was as Laura Petrie.

As a proud owner of “The Dick Van Dyke Show” book by Ginny Weissman and Coyne Steven Sanders (1983, St. Martin’s Press), there’s instant access to all the episode summaries for the entire series. Immediately coming to mind without even checking the book are the Petrie home address, 448 Bonnie Meadow Road in New Rochelle, NY. Neighbors were Jerry and Millie Helper. Son Ritchie’s favorite series of lines, “Daddy, did you bring me anything today?” “How about a stick of gum, Rich.” “Yay!”

Favorite episodes where Laura/Mary showed her dancing and singing style (“The Talented Neighborhood” where Doris Singleton’s “Mrs. Kendell” would con Rob into heading up the talent contest, and Mary would audition “a little something.” Then Eleanor Audley’s “Mrs. Billings” pushed Rob to the theatrical “Somebody Has to Play Cleopatra,” again showcasing Mary’s theatrical talents. Or, the “Too Many Stars” episode with Sylvia Lewis, competing with Laura for the prime spot; each of these episodes is a classic.

Probably my all-time favorite episode is “The Alan Brady Show Presents,” where the entire Alan Brady Show (Carl Reiner) staff perform in lieu of a scripted comedy.

The Alan Brady Chorus, hands down, delivers the most hysterical musical episode of the lot, at least in this writer’s opinion. Quick, before you watch, who is ejected from the chorus first and in what order? You know you know this!

Moving forward from 1966, when “The Dick Van Dyke Show” concluded, until 1970 when “The Mary Tyler Show” debuted, time passed very slowly for me. But in 1970, entertainment returned as MTM was back, this time in a James L. Brooks-Allan Burns brilliant creation that they also co-produced, together with Grant Tinker. How many times does a retro TV special include this dialogue?

Lou Grant: "Mary, You've got spunk."

Mary Richards: “Thank you, Mr. Grant.”

Lou Grant: “I hate spunk.”

And so, the show opened in 1970 with “Love is All Around,” written and sung by Sonny Curtis:

“How will you make it on your own? This world is awfully big. Girl this time you’re all alone. But it’s time you started living. It’s time you let someone else do some giving. Love is all around, no need to waste it. You can have the town. Why don’t you take it? You might just make it after all.”

Sonny Curtis sang the opening and closing themes on “The Mary Tyler Moore Show" from 1970-1977. And all of America who will admit it, can sing right along with the song that (re)introduced America to beloved character actors who held regular roles including Ed Asner, Gavin MacLeod, Ted Knight, Valerie Harper, Cloris Leachman, John Amos, Lisa Gerritsen, and Joyce Bulifant.

Her MTM Enterprises flourished in its number and quality of primarily comedy shows produced through the years. Daily operations were headed by co-owner and Mary's former husband Grant Tinker, who died just last November, 2016 at age 90.

Together they were an amazing production team, giving us so many shows we can name right off the tops of our collective heads: “The Mary Tyler Moore Show,” “Rhoda,” “Phyllis,” “Lou Grant,” “The Bob Newhart Show,” “St. Elsewhere,” and “Remington Steele,” to name a few.

Oh, let’s not forget the iconic music and characters of “WKRP in Cincinnati.” The “Big Guy” Arthur Carlson, portrayed by Gordon Jump, and “Little Guy,” Herbert R. Tarlek, Jr. (Frank Bonner), Howard Hesseman’s “Johnny Fever” (et al.), Tim Reid’s “Venus Flytrap,” Loni Anderson’s “Jennifer Marlow,” “Andy Travis” (Gary Sanders), Bailey Quarters (Jan Smithers), and everyone’s favorite reporter, Les Nessman (Richard Sanders), who gave us all newfound respect for the Silver Sow Award and passed on the knowledge that turkeys indeed cannot fly. These shows and the legendary characters are essentially all thanks to Mary Tyler Moore.

As the years passed, the final season show opened with (Sing along, go ahead)

“Who can turn the world on with her smile? Who can take a nothing day and suddenly make it all seem worthwhile? Well, it’s you girl, and you should know it. With each glance and every little movement you show it. Love is all around, no need to waste it. You can have the town, why don’t you take it? You’re going to make it after all. You’re going to make it after all.”

You remember the cat meowing at the end of each show?

That was Mary’s own cat, Mimsie, set to be the MGM lion in training. MGM, MTM…you know.The only time it took on a different voicing was when Bob Newhart recorded his own voice saying, “Meow.” Classic Bob.

Back then, it wasn’t well known, but MTM Enterprises actually co-owned the CBS Studio Center, in Studio City, California; hence, most of the MTM series were shown on CBS. That meant ratings gold for the network and Saturday night programming was locked up at one point in the 1970s with the MTM branding.

As TV Line has just reported Mary’s death at age 80 today, I don’t think about the four Emmys she won, the dancer she was, or even the Hotpoint little wisp of a fairy she was. Some of you are too young to recall the very first days of her career. I just think of a woman of classic beauty, dignity, style and grace, who was a guest in my home for 90% of my life. Sometimes I’d have to go to the movies to see her, as she was capable of handling comedy, musicals, and drama with equal skill.

As a spokeswoman for the Juvenile Diabetes Research Foundation, we were aware that she had battled the disease throughout her life. We also know that she lost her son far too young and yet, despite her pain, she pressed on with her career. Even after her divorce from Grant Tinker, she continued to entertain us. And she found love again, with a devoted husband, Dr. Robert Levine, who survives her.

In 1979 she starred in an ill-fated one-season series, “The Mary Tyler Moore Hour” and despite a sterling cast (Dody Goodman and Michael Keaton), it fizzled, but not before garnering an Emmy nomination for Outstanding Art Direction for a Series (of course, fellow credit watching devotees will recognize René Lagler and Carl Carlson as experts who’d likely garner an Emmy nod for building a set out of popsicle sticks—they’re that good).

In fact, Mary Tyler Moore’s world was defined by, expanded by, and graced by some of the most iconic character actors, production executives, network executives, and behind the scenes pros. Together, these teams gave us decades of joy, laughter, entertainment, escape, and inspiration to enter a business where everything is exciting, day after day, because it is to bring joy into the lives of others.

As Sonny Curtis sang, “Love is all around, no need to waste it. You can have the town, why don’t you take it? You’re going to make it after all.” And the MTM cat meows, knowingly. As Valerie Harper’s character, Rhoda Morganstern, used to say, “Thanks, Mer..” and lots of love.

Actor Miguel Ferrer Dies at Age 61 after Quiet Battle with Cancer

When Deadline Hollywood reported the death of actor Miguel Ferrer today, at age 61, the first thought was one of sorrow that those who love to watch “NCIS:LA” had suspected for some time now. The man who played NCIS Assistant Director Owen Granger had gone through some visible changes in the past year.

For the first three weeks of January, the entertainment world has lamented the loss of favorite actors, and the usual diatribe has been devoted to “isn’t it a shame that” and yet, we the audience never met these icons in person, so to claim something as “our loss” is a clear sign of what their work product has meant to us, and to so many others, as wanting to identify and associate with an actor’s passing.

Yes, age 61 is clearly “gone too soon” for anyone, but in Miguel’s case, it is unquestionably gone too soon as this talented man had so much great work ahead of him, including voice roles and that, along with the impact of his loss to his family and friends, is substantive.

Being the oldest son of two icons is far from easy. Born to actor Jose Ferrer (Oscar winner, 1951) and Rosemary Clooney (legendary singer), Miguel had grown up in the midst of Hollywood but, strictly from perception at a distance, he is one who wasn’t pressured to enter the business, but willingly did so, while exploring a diverse level of talents and skills. He was an accomplished actor, voice artist and musician.

Like many second-generation Hollywood actors, people often assume that there’s some special advantage in having famous family members preceding them in the business. There is none. Reality was that in 1967, Jose Ferrer and Rosemary Clooney divorced, and all five children lived with their mother afterwards, with Miguel then only age 12. From Rosemary’s own autobiography, the children grew up far from being under close parental supervision but each has found their own way forward.

One especially fun fact from the IMDB data base notes Miguel is credited on drums on Keith Moon’s album, “Two Sides of the Moon.” Now, remember “Owen Granger” and try to match that up with Keith Moon. Pretty funny, right? It’s acting. All acting, especially as he kept his recent health challenges to himself. From actor, to drummer, to ‘voice’, in 1999, Ferrer was nominated for a Grammy for Best Spoken Word Album for Children in Disney’s “The Lion King II: Simba’s Pride Read-Along” (1999).

Although many people know him primarily as “Granger” on “NCIS:LA” or as “Dr. Garret Macy,” costarring with Jill Hennessy on “Crossing Jordan,” Miguel was a veteran dramatic actor in television, but he was also famous for the movie “RoboCop” and “Twin Peaks.” Ferrer was also a musician, among his many talents. In his early years, Ferrer played drums in bands, including those with his mother, and with Bing Crosby, godfather to Miguel’s brother, Gabriel. As a younger musician, he cofounded the band, “The Jenerators,” with actor/singer/songwriter Bill Mumy (“Lost in Space,” “Twilight Zone”).

Although Miguel’s illness was never disclosed by anyone at “NCIS:LA” or “CBS,” it’s clear the series creator Shane Brennan was aware of his health challenges. At the beginning of his work on the current season of “NCIS:LA,” Miguel Ferrer tweeted “Middle of shooting 802. Starting off as the best season yet by far. Stories and action second to none. Some damn good acting too,” on July 26, 2016. Recently as the eighth season has progressed the NCIS–LA office has been searching for a (so far unfindable) mole. Just last Sunday, the episode “Hot Water” showed Granger being stabbed by an assailant while he was in police custody. The next episode, “Under Siege” will not air until Sunday, January 29.

[Right: Photo of Miguel Ferrer and Daniela Ruah by Ron P. Jaffe/CBS, used with permission]

In one of Miguel’s last Instagram posts, 17 weeks ago actually, he shared a poignant picture from 1979 with Todd Fisher, taken at Telluride. It received 599 likes. Who knew that 14 weeks later, Todd would lose his sister, his mother, and his friend? There’s great overlap between the two families no doubt as well as those of others, as many all grew up in similar situations and circumstances, in the public eye at times, and many continue to work in the business today.

Realistically and clearly, we don’t know these people, personally, whose deaths we all tend to fall into a pattern of lamenting across social media. But we feel like we do when we invite them into our homes each week on TV. They are there at our invitation. So, it is a natural reaction then to offer our condolences in memory and in respect of their passing.

No, we don’t claim them as family, but to all who are quietly considering the preciousness of life and the fleeting moments that pass by us faster than sound it seems, may we each remember to be grateful that people spend a lifetime in the world of entertainment, giving us their very best to remember them by, so much so in fact that we pause to reflect on their passing, sharing news of same with others. They will always be remembered and regarded, along with reruns and rebroadcasts of their work.

May we then, perhaps, remember to say “thank you for a job well done” to people in our daily lives who we do know, who might appreciate hearing it now and then. Accolades are for everyone. The following message was posted across CBS Social Media late today:

Miguel is survived by two sons by ex-wife Leilani Sarelle, Lucas and Rafael, and he is survived by his widow, Lori Weintraub, as well as his brothers Gabriel and Rafael, and his sisters, Maria and Monsita, and all of their respective families.

Even though his name is currently a ‘trend’ on Twitter, when that fades, his body of work stands as his best memory for all of us to remember him, with great thanks for his talents.

One of his favorite quotes from his IMDB page:

(1999) "My favorite place in the whole world is Jackson Hole, Wyoming. The whole experience in Wyoming is just fantastic. It's renewing. In the winter we'll go skiing, and during the summer there's golf, there's Yellowstone, there's just whatever. It's the best place in the world."

Vaya con Dios, Miguel Ferrer.