“I will go to bat for them because I think they are unjustly and
unfairly attacked, as they are being again in this environment
and administration.  And I was a recipient of a GLAAD Award,
which I’m very proud of.  I’m more proud of that than I am of
any other award I’ve gotten – including the Emmy –
because it means that I actually meant something to somebody. 
That I did something good for some community, and
I appreciate that.  They appreciate me, and it’s vice versa!”
– Joy Behar discusses her connection with the gay community.

“I’m not a pedophile, but…” – five words you don’t ever want to say.  Hearing them from a close friend ain’t much better.  And yet, I knew exactly who he was going to reference – the filial equivalent of a contemporary.  While that tyke is well into his 20s, it’s nonetheless an indicator of the passage of time.  It was only moments ago when we were the young bucks on the town.  Now, we are precariously close to those anonymous men of a certain age who looked on from the end of the bar.  It should be noted that none of us have seen this tyke in the flesh.  Perhaps it’s simply one of those photographic anomalies – captured at the right place and time.  It’s happened to all of us.  But some people live in the right place and time.  Rather than be envious, why not take a little time to enjoy the view.

Which brings us to Mid-Century Modern – a terrible name for a series The Hollywood Reporter described thusly: “Nathan Lane and Matt Bomer Lead a Hulu Comedy That’s the Edgiest Sitcom of 1987”.  This sums up the show better than I could – and I say that having watched all ten episodes (there is no limit what I do for you, dear readers).  In some ways, the show is very old-fashioned.  There are setups you see coming a mile away, and stereotypes galore.  It’s a formula that has withstood the test of time.  The situations might have been edgy in 1987, but they are tame by today’s standards.  The shocking terms and “jokes” (if one can call them that) seem to have been shoehorned in to get a rise out of people – but don’t seem particularly funny or even shocking.  In fact, it took 18 minutes for me to laugh out loud at the first episode.  That was quickly followed up by a cringeworthy moment which was, alas, not an isolated incident.  And, wait a minute – was that Miss Coco Peru sitting way in the back as…dare I say, an extra?  Peru herself explains.  “I had 2 lines when we filmed and I was happy they got big laughs, but they also ended up cut.  Perhaps jokes about jizz aren’t Hulus thing…However, because I did the work, it’s in the contract that I get a guest star credit.  In the hotel scene you can see me in the office.”

While the cast is fine, Nathan Lane cements his status as a national treasure.  He’s never less than committed, even when the writing routinely lets him down (his Bunny makes Albert in The Birdcage look like Chuck Norris).  There is a plethora of talented guest stars – including the scene-stealing Cheri Oteri, who is an MVP whenever she shows up.  Richard Kind and Zane Phillips made Episode Five a highlight – or was it the bleached-blond extra in a tank top he may have crocheted between takes?  Regardless, it was easily the best episode of the bunch.  That this episode all but ignored Linda Lavin highlights the problem.  While her character had enormous potential, it was never fully mined.  She mostly operated in a vacuum, which makes her loss less than it might have been.  Had this show aired while in production, it might have been tweaked based on feedback.  Having a full season drop as it did robbed them of the opportunity to grow.  Is it worth watching?  Yes.  Will it get a second chance?  Stay tuned.