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TIME: Almanac 1995
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<text id=93TT2088>
<title>
Aug. 23, 1993: Fox's Growing Pains
</title>
<history>
TIME--The Weekly Newsmagazine--1993
Aug. 23, 1993 America The Violent
</history>
<article>
<source>Time Magazine</source>
<hdr>
TELEVISION, Page 66
Fox's Growing Pains
</hdr>
<body>
<p>Can the fourth network expand its young core audience without
losing its brand-name identity?
</p>
<p>By RICHARD ZOGLIN
</p>
<p> Network labels traditionally count for little in the mass-produced
world of broadcast TV. Who can honestly tell the difference
between a CBS show and an NBC show or one that happens to appear
on ABC? Only Fox, the scrappy fourth network, has established
a brand-name distinctiveness. The network's executives like
to refer to it as the "Fox edge" or the "Fox attitude." It encompasses
everything from the brassy bad taste of Married with Children
to the tabloid grittiness of Cops. Fox has been willing to take
chances on ideas too dumb to believe (Woops!, a sitcom about
the survivors of nuclear holocaust) and others almost too good
to be true (The Simpsons). If the young audience hooked on Fox
signature hits like Beverly Hills, 90210 has had little patience
for more sophisticated efforts like The Ben Stiller Show or
Tribeca, well, that's the price for cultivating a niche.
</p>
<p> But Fox is growing up, and the niche is getting fuzzy. Fox programmers
are trying this season to broaden the network's audience beyond
the core group of teens and young adults. It's a matter of practicality
as much as policy: six years after introducing its first two
nights of prime-time fare, Fox has just expanded to a full seven
nights of programming. Says Sandy Grushow, president of Fox
Entertainment: "When you program seven nights a week, you have
to have a balanced diet of programming. You can't do 28 Simpsons
or 28 variations on In Living Color."
</p>
<p> The network's fall lineup still shows traces of the old renegade
Fox, the Network Without Adult Supervision. For one thing, Fox
programmers pay little heed to the usual seasonal demarcation
lines: to get a jump on the competition, three fall newcomers
are being introduced before Labor Day. And some of them, at
least, exhibit the in-your-face bluster that only Fox can get
away with. Sometimes.
</p>
<p> As bad as TV sitcoms often are, for instance, it's hard to imagine
anyone but Fox churning out a turkey like Living Single. Rap
singer Queen Latifah plays one of four "upwardly mobile" black
women trying to make it in New York City. Sound familiar? So
are all the jokes, including an extended one in the pilot episode
about a roommate whose suave boyfriend turns out to be--gasp!--married, and predictable put-down lines that depend on characters
behaving like either insufferable snobs or total idiots. Stuck-up
roommate: "Are you saying that I am shallow?" Wisecracking girlfriend:
"Like a kiddie pool." Proceed at your own risk.
</p>
<p> Daddy Dearest, a slightly smarter sitcom about a psychiatrist
whose father moves in with him, might be termed Transitional
Fox. Casting angst-ridden comic Richard Lewis as the shrink
is the sign of a show aiming for a more adult level of relationship
comedy. But pairing him with Don Rickles (who barges into his
son's group-therapy session to shout racial insults at everybody)
puts us squarely back on the Fox buzz saw.
</p>
<p> Elsewhere, Fox is resorting to a time-tested network ploy: trying
to duplicate past successes. With In Living Color fading fast,
Robert Townsend has been enlisted to create another sketch-comedy
series, Townsend Television. The X-Files, a fictionalized account
of FBI agents who investigate paranormal phenomena, will take
over the UFO beat from the canceled Sightings. And Sinbad, starring
the young black comic, is an admitted effort to catch "the same
lightning in a bottle," according to Grushow, as Martin, starring
young black comic Martin Lawrence.
</p>
<p> Yet Fox is also venturing in some very un-Fox-like directions.
The Adventures of Brisco County, Jr., a comic western about
a Harvard-educated lawman, works hard for its hip, genre-spoofing
tone. But it recalls too many previous adventure-with-a-smile
network flops. If the cutesy segment titles don't send you running
for cover ("Chapter Three: Hot Flames, Two Dames and Loose Reins"),
the ridiculous fight scenes probably will (surrounded by four
gunmen, Brisco drops to the ground, and the bad guys all shoot
one another).
</p>
<p> Fox's effort to broaden its base has produced at least one unexpected
gem: Bakersfield, P.D., a flaky, funny, sweet-tempered comedy
that looks like no other show on Fox, or anywhere else. Giancarlo
Esposito does a wonderful slow burn as a half-Italian, half-African-American
cop who relocates to California and finds himself surrounded
by nut cases. His partner is a Rollerblading TV junkie who tries
to bridge the racial divide by playing the theme from Shaft
in the squad car. His captain is so petrified of making decisions
that he can't punch a phone button without having an anxiety
attack. There's no laugh track, but lots of deft small-town
satire, as well as TV's most honest, uninhibited comic treatment
of race since Frank's Place. It's a welcome sight on any network.
</p>
</body>
</article>
</text>