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Edited on Thu Jan-25-07 01:35 AM by NanceGreggs
SOTU-TV
By Nancy Greggs
For a show that’s had the advantage of being on the air for decades, it seems almost unpatriotic to say it: But, let’s face it, last night’s episode of “The State of the Union” was more than a disappointment – it flopped big-time.
Probably the only reason it garnered any viewers at all is the fact that American Idol was airing one of its “audition” shows – you know, where people totally devoid of talent make fools of themselves on camera – before “SOTU”, as opposed to opposite it. Had the audience been forced to choose between hilarious clips of would-be singers and this not-so-funny show about a would-be president, the ratings could have been even more disastrous than they were.
When you think about how many TV series air dozens of quality episodes per season, you have to wonder why the producers of “SOTU”, which only airs once a year, couldn’t come up with better fare. The performances were lackluster, the dialogue stilted and cliché-ridden – and the in-house ‘live’ audience looked like they’d rather be anywhere else but where they were, trapped in their seats for the duration, like it or not.
The trademark “SOTU” monologue was especially dreary, sounding hastily-written and devoid of direction or style – something more gracious critics would excuse on the basis that it must, in keeping with the up-to-the-minute tenor of the show, be written within days of airtime, which was certainly true in the series’ earlier years.
But the last six installments of the saga have been blatantly reliant on fictional plot contrivances, along with focus-grouped talking points delivered as though they had some tenuous connection to reality, and it was only the phantasmagoric absurdity of it all that kept the hardcore fans tuned in from one year to the next.
But all good things – even seemingly good things – must come to an end, especially when what has for several seasons been a magic act suddenly becomes a reality show, with all of the attendant unpleasantness of the country’s present true state of affairs. The lead character’s swagger was gone, along with his legendary reliance on a well-spun script and a supporting cast that used to shore-up his obvious failings without having to be prompted by the flashing of the ‘applause’ sign.
For starters, I don’t know who’s been in charge of casting for the past few years, but they should have been fired long ago. George W. Bush – as president? Even my healthy imagination doesn’t stretch quite that far. I never bought him in the role and, as poll numbers continue to demonstrate, the vast majority of the public are no longer buying it either.
While there’s no denying that the “State of he Union” has been going downhill since the present line-up has been in charge of the program, one can’t help but notice that in previous years, that inconvenient fact hasn’t stopped cast and crew from putting a rosy hue of lipstick on the pig before dragging it in front of the cameras anyway. But as was made obvious last night, the desire -- or perhaps the ability -- to fake it was gone.
Perhaps the most disappointing performance of the evening was Dick Cheney (VP-cum-evil-villain) who seemed to phone it in last night – obviously distracted by looming legal difficulties that a dedicated trouper would have been able to dismiss in the traditional show-must-go-on spirit.
But the rest of the supporting cast fared no better. Condi Rice, whose portrayal of a Secretary of State has been amateurishly strained at the best of times, had the look of a woman trapped in a pair of too-tight Ferragamos, and Laura’s “Desperate Housewife” schtick has grown as tiresome as her wardrobe.
The only real laughs were the result of the inspired planting of John “Snoozy” McCain in the audience – and kudos to the prop master whose ingenuity in doing so was able to coax a few laughs out of an otherwise dull evening.
If the show had one saving grace, it was the debut of its newest cast member, Nancy Pelosi, whose style and enthusiasm tend to inspire hope that this long-running series may not only duck the cancellation axe, but may actually offer some better seasons to come.
But I, like many, much preferred “SOTU” in its salad days, when the casting was more believable – even, in some instances, downright inspired – and the arc of character development was something to watch.
Maybe I’m just waxing nostalgic, but “SOTU” had a lot more panache when the Commander-in-Chief was a whacky, idealistic kid from Arkansas, nicely complemented by a visionary Vice President, a seemingly mismatched but unbeatable duo who could rally an audience and balance a budget with a heady combination of verve and statesmanship.
It’s just my humble opinion, but for my money, “SOTU” jumped the shark back in ’01, when the backdrop of optimism, honesty, and real democracy were replaced with rancorous rhetoric and the smoke-and-mirrors illusion of an administration that had memorized its lines, but knew nothing of its responsibilities to a national and worldwide audience that had once looked forward not only to its existence, but its promise.
I think I need a rest from the series, so I’ve already decided on not tuning in next year. Although it will be the final episode featuring this present line-up of talent, I think I’ve seen enough.
But that’s not to say I’ve given up on the show completely. I’m already anxiously awaiting the January 2009 series opener, which I’m confident will mark a return to an inspired technical crew, some truly creative writers of American history, and a cast that will return “SOTU” to its former days of glory.
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