Hill Street Blues (TV Program)

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    James B. Sikking, Actor Best Known for ‘Hill Street Blues,’ Dies at 90

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    His natural rectitude landed him roles on hundreds of TV dramas and comedies, including the beloved “Car Pool Lane” episode of “Curb Your Enthusiasm.”James B. Sikking, an actor who specialized in comically and threateningly stern men, died on Saturday at his home in Los Angeles. He was 90.The cause was complications of dementia, a spokeswoman, Cynthia Snyder, said in a statement.Mr. Sikking combined a soldier’s leanness and square jaw with a gentleman’s horn-rimmed spectacles and neatly combed hair. As a Federal Bureau of Investigation director involved in high-level power players in the 1993 movie “The Pelican Brief,” he looked the part.“I have that professional, intelligent look in my eye that hires me as doctors, lawyers, professional people,” he told The New York Times in 1988.Among hundreds of roles on television, Mr. Sikking was best known for playing Lt. Howard Hunter on the police drama “Hill Street Blues” (1981-87). The show won 26 Emmys, a record for a drama until “The West Wing,” which ran from 1999 to 2006, reached the same total. The show “paved the way for today’s golden era of TV drama,” The Los Angeles Times wrote in 2014, a claim that many other commentators have made as well.Mr. Sikking’s character, who appeared in every episode, was a pipe-smoking disciplinarian and weapons expert who, when alone at home, might whisper lovingly to a puppy.He based the character’s persona and even dress on a drill instructor he had during a stint in the Army. “He was so ‘army’ that it was maddening,” Mr. Sikking told the entertainment and lifestyle publication Parade in 2014. “And he had just gotten his second lieutenant bars and he worked our butts off and he was totally unbending.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Barbara Bosson, 83, Dies; Brought Family Drama to ‘Hill Street Blues’

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      She received five consecutive Emmy nominations for her role as Fay Furillo, the frenetic ex-wife of a police precinct captain.Barbara Bosson, who starred in a half-dozen TV crime dramas from the 1970s to the ’90s but who is best known for her five seasons on “Hill Street Blues,” for which she was nominated for five consecutive Emmy Awards, died on Saturday in Santa Monica, Calif. She was 83.Her son, Jesse Bochco, confirmed her death, in a hospital, but said the cause had not been determined.Ms. Bosson was a relatively unknown actress when she burst through the doors of a police station in the pilot episode of “Hill Street Blues,” the much-lauded police drama that ran from 1981 to 1987. She played Fay Furillo, the frenetic ex-wife of Capt. Frank Furillo (played by Daniel J. Travanti), and she had come to demand alimony, which he was chronically late in paying.Fay’s was supposed to be a one-off appearance, but producers, critics and audiences liked her so much that the writers — including her husband, Steven Bochco, the show’s producer and co-creator — quickly made her a part of the main cast.With its busy camera work and overlapping story lines, “Hill Street Blues” is widely considered a landmark in TV history. Set in a gritty (but unnamed) American city, the show offered a textured take on working-class life that struck a chord with a country in the midst of stagflation and deindustrialization. It was nominated for 97 Emmys, a record at the time for a one-hour drama (it has since been surpassed by “The Sopranos,” “Mad Men,” “ER” and “Game of Thrones”), and won 25.Ms. Bosson’s performance as Fay was central to that success. Her character was difficult and self-pitying, but she was also a hardworking single mother struggling to make ends meet.“Fay is one of those transition women,” she told The Washington Post in 1987. “She grew up in one kind of set of values — she’s not unbright, but she never thought she’d have to support herself. And then she found herself divorced, poor, with a child and real angry.”Ms. Bosson faced accusations that she had won the role because she was married to Mr. Bochco. She brushed them off, but she also said they drove her add depth to the character as a way of showing her creative independence. It was her idea, for example, to make Fay a victims’-rights advocate.Mr. Bochco left the show over creative differences at the end of the fifth season. Ms. Bosson left soon after, claiming that the producers were trying to strip Fay of the endearing qualities she had worked so hard to add.Ms. Bosson went on to star in several more crime shows, including the Bochco creations “Hooperman,” “Cop Rock” and “Murder One,” Her performance as a deputy district attorney on “Murder One” earned her a sixth Emmy nomination.Ms. Bosson at a Screen Actors Guild event in 2005.Mark Sullivan/WireImage, via Getty ImagesBarbara Ann Bosson was born on Nov. 1, 1939, in Charleroi, Pa., about 30 miles south of Pittsburgh. Her father, John, was an aspiring tennis coach who made ends meet as a milkman, and her mother, Doris, was a homemaker. When Barbara was a teenager, her family moved to Gulfport, Fla., where she graduated from high school in 1957.She gained admission to the drama department at Carnegie Tech (today part of Carnegie Mellon University), but it was too expensive for her parents. Instead she moved to New York, where she worked as a secretary and took acting classes at night. She also worked for a time as a hostess at the Playboy Club in Midtown Manhattan.“I put up with a lot of leering men to be able to study acting,” she told The St. Petersburg Times in 1990.She eventually saved enough money to enroll at Carnegie Tech in 1965, but left before graduating to pursue acting. Her classmates included several future “Hill Street Blues” colleagues, among them Mr. Bochco and the actors Bruce Weitz and Charles Haid.Mr. Bochco was married, but he had divorced by the time they met again, in Los Angeles, in 1969. They married at the end of the year.They divorced in 1997. Mr. Bochco died in 2018. Along with her son, Ms. Bosson is survived by a daughter, Melissa Bochco; two grandchildren; and her brother, Richard.Ms. Bosson’s first screen credit was in the 1968 crime thriller “Bullitt,” with Steve McQueen, and through the 1970s she was seen in a series of small TV and film roles. She was also a member of the Committee, an improv troupe.Though she continued to find work in the 12 years between leaving “Hill Street Blues” and her retirement in 1997, she found it increasingly frustrating, with good roles for women her age few and far between.“There’s this wonderful tradition in Hollywood where men as old as 60 or 70 play opposite women of 20,” she told The Washington Post. “The only time you’ll see an older woman with a younger man is if she’s so knock-them-down-dead gorgeous that anybody would go for her.” More

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      Cop TV Shows: A Brief History of the Police Procedural

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      The genre dates back to the dawn of television, but it has evolved over the years.Scripted television is all but unimaginable without the soothingly formulaic, reliably satisfying police procedural. But the genre has evolved with the medium, becoming grittier, more realistic and more sophisticated — up to a point. In the same way some argue that all war movies are pro-war movies, critics maintain that cop shows inescapably glorify police officers and denigrate perpetrators.Here’s a look at several important cop shows and how the genre has changed over the decades.‘Dragnet’ (debuted in 1951)Adapted from a radio program by its creator and star, Jack Webb, “Dragnet” was one of the most popular cop shows ever, rising as high as No. 2 in the ratings behind “I Love Lucy.”“Dragnet” set the genre’s resilient template: Each episode featured a new crime for the detective partners to solve. Made in extensive consultation with the real-life Los Angeles Police Department (which provided a steady supply of authentic cases on which to base episodes), it also introduced the trend of what critics characterize as an overly deferential view toward law enforcement.‘Hill Street Blues’ (1981)After “Dragnet,” popular cop shows like “Kojak,” “Columbo” and “Cagney & Lacey” injected additional personality into its crime solvers, according to the book “Cop Shows.” But it was “Hill Street Blues” that successfully depicted the sour tones of the job and the toll it could take on officers.Its critical acclaim, including five Emmys for outstanding drama, ensured its influence over the next generation of police procedurals. “With its serial structure, ensemble cast of characters, willingness to be dark and have the characters be unlikable on some level, it was a real stretch from ‘Dragnet,’” said Jonathan Nichols-Pethick, a professor of media studies at DePauw University.‘N.Y.P.D. Blue’ (1993)Along with “N.Y.P.D. Blue,” which brought the profession’s R-rated language and themes to the screen, “Law & Order” and “Homicide: Life on the Street” helped pave the way for the prestige television boom. Each show was brought to network television in the early 1990s with the help of “Hill Street Blues” alumni, building on that show’s realism and sense of place.“Law & Order” has lasted 22 seasons and spawned no fewer than eight spinoffs, while “Homicide: Life on the Street” used vérité-style camerawork to plumb race relations in Baltimore. “N.Y.P.D. Blue” tracked Detective Andy Sipowicz’s evolution to more enlightened racial views over a dozen seasons.The commitment to realism had a range of implications. Bill Clark, a former New York City detective who was a producer on “N.Y.P.D. Blue,” said melodramatic story lines were not always reflective of regular policing methods.“One of the things I was always offended by in other cop shows was in an interrogation room where cops beat the crap out of the guy,” he said.‘CSI: Crime Scene Investigation’ (2000)The innovation that “CSI” provided the cop show was technology, with its investigators using the latest in forensic know-how to crack Las Vegas’s hard cases. In other ways, though, “CSI” was a throwback, relying heavily on the procedural structure that dates back to “Dragnet.”It worked: “CSI” was a top 10 show in each of its first nine seasons, peaking at No. 1. It resulted not only in three direct spinoffs but even more copycats.Some have theorized that the show also generated a “CSI Effect,” in which real-life jurors unrealistically expect compelling forensic evidence.‘The Wire’ (2002)There had never been a crime show quite like “The Wire.”It not only depicted problems with the aims and methods of policing, but at times placed the blame on fundamentally corrupted systems and initiatives like the war on drugs.The critically acclaimed show was created for HBO by Ed Burns, a former Baltimore homicide detective, and David Simon, a former Baltimore Sun reporter who had written for “Homicide: Life on the Street,” a series that was based on his 1991 book.The crime novelist George Pelecanos, who wrote for “The Wire,” said Simon’s pitch was not “a thought-provoking look at the issues in the inner city,” but a show about cops and drug dealers. But, Pelecanos added, “I knew where his heart was. This wasn’t going to be the usual thing where bad guys are pursued and caught.”‘East New York’ (2022)“East New York,” which debuted on CBS on Sunday, follows in the tradition of the police procedural. But its producers are hoping to highlight underemphasized aspects of policing, such as officers building relationships with the community.“Catching bad guys is what cops did in the days of ‘Dragnet,’ and it’s what they still do,” said William Finkelstein, a creator of “East New York” and a veteran of “Law & Order” and “N.Y.P.D. Blue.” “But how do they do it? And what’s their relationship to the people they’re policing?” More

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      Taurean Blacque, Actor Best Known for ‘Hill Street Blues,’ Dies at 82

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      He received an Emmy nomination for his work as Detective Neal Washington, a character he strove to portray as something other than “that hip, jive Black man.”Taurean Blacque, the actor best known for his Emmy-nominated performance as a detective on the critically acclaimed NBC drama series “Hill Street Blues,” died on Thursday in Atlanta. He was 82.His family announced the death in a statement. It did not specify a cause, saying only that he died after a brief illness.Mr. Blacque, who began his career as a stage actor in New York, had several television appearances under his belt when, in 1981, he landed his breakthrough role: the street-smart Detective Neal Washington on “Hill Street Blues,” which drew praise for its realistic portrayal of the day-to-day reality of police work and was nominated for 98 Emmy Awards in its seven seasons, winning 26.The part of Washington, Mr. Blacque later recalled, was sketchily written, and it was his choice to play the character as quiet and reflective. “I think the original concept was that hip, jive Black man, you know,” he told TV Guide. “But I wanted to turn it around a little, give him some depth, not get into that stereotype.”Mr. Blacque was nominated for a 1982 Primetime Emmy for best supporting actor in a drama series, but he lost to his fellow cast member Michael Conrad. (All the nominees in the category that year — the others were Charles Haid, Michael Warren and Bruce Weitz — were members of the “Hill Street Blues” cast.)“Hill Street Blues” ended its run in 1987, and two years later Mr. Blacque starred with Vivica A. Fox and others on the NBC soap opera “Generations.” Probably the most racially diverse daytime drama of its era, “Generations” dealt with the relationship over the years between two Chicago families, one white and one Black. Mr. Blacque played the owner of a chain of ice cream parlors.He later moved to Atlanta, where he was active on the local theater scene, appearing in productions of August Wilson’s “Jitney,” James Baldwin’s “The Amen Corner” and other plays. He was also involved in the National Black Theatre Festival in Winston-Salem, N.C.Taurean Blacque was born Herbert Middleton Jr. on May 10, 1940, in Newark. His father was a dry cleaner, his mother a nurse.He graduated from Arts High School in Newark but did not decide to pursue an acting career until he was almost 30 and working as a mail carrier. He enrolled at the American Musical and Dramatic Academy in New York in 1969 and, he told USA Today, “Once I found out that acting was my niche, I poured all my energies into it.”He said he chose the stage name Taurean Blacque (Taurus was his astrological sign) in part as a way to get casting directors’ attention. Eventually, after several years of paying dues, he did.Work in community theater in New York led to roles with the Negro Ensemble Company and eventually to Hollywood, where he landed guest roles on “Sanford and Son,” “Taxi,” “Charlie’s Angels,” “The Bob Newhart Show” and other TV series before being cast on “Hill Street Blues.”In addition to being an actor, Mr. Blacque, who had two biological sons and adopted 11 other children, was an adoption advocate. He was the spokesman for the Los Angeles County adoption service. In 1989, President George Bush appointed him the national spokesman for adoption.Mr. Blacque’s survivors include 12 children, 18 grandchildren and two great-grandchildren.The Associated Press contributed reporting. More