By Dennis Hartley
(Originally posted on Digby’s Hullabaloo on September 13, 2025)
The 77th Primetime Emmy Awards will be held this Sunday night (broadcast live on CBS and Paramount + at 5 pm PST). Being, as I am, a lifetime member of the “television generation” who (to quote from Paddy Chayefsky’s Network) learned about Life from Bugs Bunny, I’m ashamed to admit that I’ve only watched 2 of this year’s nominated drama and comedy series (HBO’s The Last of Us and Hulu’s Only Murders in the Building) and a smattering of the nominated talk/scripted variety series (The Daily Show, Last Week Tonight, and SNL).
Consequently, despite being the designated pop culture guy around these parts, I am hardly qualified to offer up my “predictions” for all the category winners. So, I won’t.
With the infinite amount of streaming platforms, bundling options, and on-demand “content” to choose from …are the Emmys even relevant anymore? I remember sifting through the latest TV Guide and drawing up a viewing plan for the upcoming week with the square-jawed commitment of a field general strategizing troop deployment. I also kept extra Reynolds Wrap on hand to enhance reception. But that was a long, long time ago.
While I have a traditional cable package, often I find myself slipping into streaming-fed niche obsessions. Currently, it’s international crime procedurals on MHz and PBS Masterpiece, with a predilection for Nordic Noir. If you really must pry (“I must! I must!”) I have also been bingeing The Saint and Peter Gunn on Prime Video. So it goes.
Oh, I’ll still DVR Sunday night’s ceremony; I have a couple shows to root for, and it’s inherently fun to watch award shows (speaking for myself). I’m feeling magnanimous, so I’ll share my DVR playback strategy. If you wait 50 minutes to start watching your recording, you can zip past most of the commercial breaks and still catch up in real time about 20 minutes before the telecast wraps (this system also works for the Academy Awards, and you’re welcome).
In the meantime, please enjoy this (late) Summer re-run.
Diamonds in the idiot box: Top 20 TV themes
(Originally posted on Digby’s Hullabaloo on May 14, 2022)
I’m taking a break from sticky floors and stale popcorn tonight to share my favorite TV show themes. It began as a “top 10” list, but I quickly gleaned that I had assigned myself a fool’s errand with that limitation. So I upped the ante to 15. Then 20 (damn my OCD!).
The Adventures of Pete and Pete – Nickelodeon’s best-kept secret, and a guilty pleasure. Gentle anarchy in the Bill Forsyth vein. I discovered, watched, and occasionally re-watch favorite episodes as an (alleged) adult. You can’t resist the hooks in Polaris’ theme.
Cheers – “Norm!” Gary Portnoy performed (and co-wrote) this upbeat show opener.
Coronet Blue – When I was 11, I became obsessed with this noir-ish, single-season precursor to the Bourne films. This theme has been stuck in my head since, oh…1967?
Due South – Paul Haggis’ unique “fish out of water” crime dramedy about a Canadian Mountie assigned to work with the Chicago P.D. was one of my favorite shows of the 90s (confession: I own all 4 seasons on DVD). It also had a great theme song, by Jay Semko.
Hawaii Five-O – The Ventures were the original surf punks (and they’re from Tacoma!).
M*A*S*H – Johnny Mandel’s lovely chart (ported from Robert Altman’s 1970 film, sans Mike Altman’s lyrics) is quite melancholic for a sitcom-but it spoke to the show’s pathos.
The Mary Tyler Moore Show – This ever-hopeful tune plays a bit wistfully now that Ms. Moore has shuffled off, but hey-as long as we have syndication, we’ll always have Mary.
Mission Impossible – Argentine jazz man Lalo Schifrin (who passed away earlier this year) hit the jackpot with this memorable theme (he composed some great movie soundtracks too, like Cool Hand Luke). Legendary “Wrecking Crew” bassist Carol Kaye really lays it down here.
The Monkees – Here’s the cosmic conundrum that keeps me up nights: Mike Nesmith was my favorite Monkee…yet the Monkees remain Mike Nesmith’s least favorite band.
The Office (BBC original series) – For my money, nobody tops future Atomic Rooster lead singer Chris Farlowe’s soulful 1967 take on this oft-covered Mike d’Abo composition, but this nice rendition by Big George obviously struck Ricky Gervais’ fancy.
Peter Gunn – Henry Mancini was a genius, plain and simple. Wrote hooks in his sleep.
Portlandia – Somehow, stars Fred Armisen and Carrie Brownstein (along with series co-creator/director Johnathan Krisel) mined 7 seasons of material by satirizing hipster culture. Like any sketch-comedy show, it’s hit-and-miss, but when it hits a bullseye, it’s really funny. It’s easy to fall in love with Washed Out’s atmospheric dream pop theme.
Rawhide – “Move ‘em on! Head ‘em up!” This performance explains why Mel Brooks enlisted Frankie Laine to sing the Blazing Saddles theme. I’m afraid this squeezed Bonanza off my list (I’m sure I will be verbally bull-whipped by some of you cowpokes).
Secret Agent Man – This Johnny Rivers classic opened U.S. airings of the U.K. series Danger Man (which had a pretty cool harpsichord-driven instrumental theme of its own).
The Sopranos – For 7 years, Sunday night was Family night in my house. Fuhgettaboutit.
Square Pegs – This short-lived 1982 comedy series (created by SNL writer Anne Beatts) was, in hindsight, a bellwether for the imminent John Hughes-ification of Hollywood. Initially a goofy cash-in on New Wave/Valley Girl couture, it has become a cult favorite.
The Twilight Zone – It’s the Twilight Zone “theme”, but it’s not so much conventional composition as it is avant-garde sound collage (ahead of its time, like the program itself).
Weeds – I suspect many of the show runners of this outstanding Showtime dramedy weren’t even born when Malvina Reynolds recorded this song; but its cheeky social satire is a perfect match.
The Wire – This lauded HBO series is a compelling portmanteau of an American city in sociopolitical turmoil. The Blind Boys of Alabama’s urban blues hits just the right notes.
WKRP – I’ve worked in broadcasting since Marconi, so trust me when I say that this sitcom remains the most accurate depiction of life in the biz. Tom Wells composed the breezy theme, show creator Hugh Wilson wrote the lyrics, and Steve Carlisle performs it.