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The First Time a TV Show Addressed the Death of a Character

The death of a show's character has become fairly commonplace nowadays, but it wasn't always that way. Let's take a look at the first time a TV show dealt with the actual death of not only a character, but a beloved friend.

The Death of Dan Blocker

After 13 seasons of playing Hoss Cartwright, the easy-going, "gentle giant" brother on Bonanza, actor Dan Blocker died unexpectedly, shortly before filming was to begin for the final season (1972-1973). Only 43 at the time of his death, Blocker died on May 13, 1972, of a pulmonary embolism (a post-op blood clot to the lungs) following a "routine" gall bladder surgery.

Blocker was universally loved by cast and crew alike. According to Mitch Vogel, who played Jamie in the last few seasons of Bonanza, "Dan Blocker was easy to get to know—the kind of guy you could go and have a beer with."

"After Dan's death," said Lorne Green (who starred as Ben Cartwright, father to Hoss), "I didn't see how the show could continue. I said to my wife, 'That's it. It's finished.'"

After Blocker's unexpected death, it was decided that his character Hoss would be killed in an accident in an episode of the show. This was to be the first time in television history that a show had dealt with, or even mentioned, the death of one of its characters. "Just as we personally suffered a loss," explained Bonanza producer Richard Collins, "so the audience suffered one, too."

The Episode

The episode, titled "Forever," was originally written to include Blocker as Hoss and, in fact, to showcase his acting talent. The two-part episode was written by Michael Landon, who also starred as Hoss' brother "Little Joe" Cartwright. In it, Hoss was to fall deeply in love with Alice Harper (played by Bonnie Bedelia).

Instead, Landon took the starring role, and the episode sees him falling in love with, getting engaged to, and marrying Alice Harper. Unfortunately, Alice has a ne'er-do-well brother heavily in debt to a ruthless gambler named Sloan, who pays a visit to Alice. When she refuses to cooperate with Sloan and his men, one of Sloan's henchmen ruthlessly beats to death the new Mrs. Cartwright (who was pregnant at the time). To cover up their crime, Sloan's men burn down the cabin.

The rest of the episode deals with Little Joe's loss and the family's grief, before Little Joe tracks down Sloan and his gang.

The Lack of Hoss

While "Forever" never directly dealt with the actual circumstances of Hoss' (or Blocker's) death, many scenes were obvious references. Said Landon about the episode: "We try to mention Hoss' death very simply, in passing... it might not please everybody. I'm sure that some people would rather have a whole hour memorial to Dan, but we just couldn't do that." He added, "We tried to do what we thought he would have wanted us to do."

Though intended to be slightly subtle, the oblique references to Hoss/Blocker were almost all too clear. In one scene, after taking her to see a location, Joe says to his bride, "My big brother and I used to call this 'the happy place,'" to which she replies, "You must have loved him very much." His realistically wistful reaction tells her the truth.

In another scene, Ben Cartwright states, "I know what it's like to lose a son;" he's later seen looking longingly at a picture of Hoss. Another touching scene involves Joe kneeling at his deceased wife's grave, saying, "I love you." But by far the most emotional scene is when Ben and Joe visit the burnt remains of the cabin where Joe's wife and unborn son were killed. In the scene, Landon collapses into Greene's arms and the two are seen shaking and crying. It was plainly obvious to the entire cast and crew that these were not fake or "crocodile" tears; the two stars were weeping for real, for their beloved friend and co-star. (After the director yelled "Cut!", many of the cast and crew joined the two stars in their open grief and wept.)

Throughout that final season of the show, Ben Cartwright speaks of the loss of his beloved son Hoss, though exactly how Hoss died is never explained. It wasn't revealed until years later, in the syndicated follow-up series Bonanza: The Next Generation (1988), that Hoss drowned trying to save another man's life.

Filming While Grieving

The episode was actually cathartic for the show's stars, as well as the crew. As soon as shooting began, the cast and crew were reminiscing about "when Dan did this" and "the joke Dan played" and "remember when Dan..."

According to Landon, who also directed the episode in addition to writing and starring in it, the first scene they had to film was the worst. The scene took place in the Cartwright dining room; "dining room scenes" were always the dullest, deadest scenes of any Bonanza episode, usually just an excuse for exposition of the episode's plot. Lorne Greene and Landon kept recalling the many laughs they had shared with Blocker in the Cartwright dining room. (Somehow, because the dining room scenes were usually so serious, they had always shared the most laughs while filming them.)

The Ratings

Although "Forever" did garner huge ratings for the show, Bonanza was clearly on its last legs, despite its lingering popularity. A perennial top ten show, it had fallen out of the top ten for the first time during the previous season. The show had also been switched from its famous "Sunday night at 9 o'clock" time slot to Tuesdays at 8. Every TV show that gets cancelled has "reasons" to explain its demise; in Bonanza's case, there were the stories of how, in its new time slot, it was "put up against popular TV 'Movies of the Week,' including Ben-Hur and Cleopatra. But the fact of the matter is that no one really cared to watch the show any more after the passing of the beloved Hoss. Somehow it just wasn't the same.

The show fulfilled its dismal final season of 1972-1973, then went off into rerun and syndication heaven, the final resting place of even the greatest of TV shows. The final season of Bonanza, the "season without Hoss," is by far the least popular and least requested season in the show's rerun package.

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Netflix's Most-Binged Shows of 2017, Ranked
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Netflix might know your TV habits better than you do. Recently, the entertainment company's normally tight-lipped number-crunchers looked at user data collected between November 1, 2016 and November 1, 2017 to see which series people were powering through and which ones they were digesting more slowly. By analyzing members’ average daily viewing habits, they were able to determine which programs were more likely to be “binged” (or watched for more than two hours per day) and which were more often “savored” (or watched for less than two hours per day) by viewers.

They found that the highest number of Netflix bingers glutted themselves on the true crime parody American Vandal, followed by the Brazilian sci-fi series 3%, and the drama-mystery 13 Reasons Why. Other shows that had viewers glued to the couch in 2017 included Anne with an E, the Canadian series based on L. M. Montgomery's 1908 novel Anne of Green Gables, and the live-action Archie comics-inspired Riverdale.

In contrast, TV shows that viewers enjoyed more slowly included the Emmy-winning drama The Crown, followed by Big Mouth, Neo Yokio, A Series of Unfortunate Events, GLOW, Friends from College, and Ozark.

There's a dark side to this data, though: While the company isn't around to judge your sweatpants and the chip crumbs stuck to your couch, Netflix is privy to even your most embarrassing viewing habits. The company recently used this info to publicly call out a small group of users who turned their binges into full-fledged benders:

Oh, and if you're the one person in Antarctica binging Shameless, the streaming giant just outed you, too.

Netflix broke down their full findings in the infographic below and, Big Brother vibes aside, the data is pretty fascinating. It even includes survey data on which shows prompted viewers to “Netflix cheat” on their significant others and which shows were enjoyed by the entire family.

Netflix infographic "The Year in Bingeing"
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14 Fascinating Facts About Saturday Night Fever
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Paramount Pictures

We can tell by the way you use your walk that you're a fan of Saturday Night Fever, the 1977 blockbuster that made John Travolta a mega-star and brought disco into the mainstream. (Whether that's a good thing or a bad thing is a matter of opinion.) To enhance your appreciation of what was the highest-grossing dance movie of all time until Darren Aronofsky’s Black Swan (2010) and Steven Soderbergh’s Magic Mike (2012) beat it, here's a groovy list of facts to celebrate the film's 40th birthday. Put on your boogie shoes and read! 

1. THERE WAS A PG-RATED VERSION OF IT, TOO.

Saturday Night Fever was an instant hit when it was released in December 1977, quickly becoming one of the highest-grossing movies of the year. What's especially impressive is that it did this despite being rated R and thus (theoretically) inaccessible to teenagers, the very audience that a disco movie would (theoretically) appeal to. And so in March 1979, the film was re-released in a PG version, with all the profanity, sex, and violence either deleted or downplayed. This version took in another $8.9 million (about $30 million at 2016 ticket prices), bringing the film's U.S. total to $94.2 million. Both versions were released on VHS and laserdisc, though the R-rated cut didn't become widely available on home video until the DVD upgrade. 

2. IT WAS BASED ON A MAGAZINE ARTICLE THAT TURNED OUT TO BE SEMI-FICTIONAL.

"Tribal Rites of the New Saturday Night," a detailed look at the new generation of urban teenagers by British journalist Nik Cohn, was published in New York Magazine in June 1976. The central figure in the article was Vincent, "the very best dancer in Bay Ridge," whose name was changed to Tony Manero for the movie. But years later, Cohn confessed: "[Vincent] is completely made-up, a total fabrication." The styles and attitudes Cohn had described were real, but not the main character. Cohn said he'd only recently arrived in Brooklyn, didn't know the scene well, and based Vincent on a Mod he'd known in London in the '60s.

3. THE BEE GEES HAD NOTHING TO DO WITH IT.

Most of the film had already been shot when music producer-turned-movie producer Robert Stigwood commissioned the Bee Gees to write songs for it. The brothers, only modestly successful at that point and hard at work on their next album, didn't know what the movie was about but cranked out a few tunes in a weekend. They also repurposed several songs they'd been working on, including "Stayin' Alive," a demo version of which was prepared in time to be used in filming the opening "strut" sequence. (You'll notice Travolta struts in sync with the music.) So if the movie's signature songs didn't come until later, what were the cast members listening to when they shot the dance scenes? According to Travolta, it was Boz Scaggs and Stevie Wonder. 

4. THE SOUNDTRACK ALBUM BROKE ALL KINDS OF RECORDS.

With 15 million copies sold in the U.S. alone, Saturday Night Fever was the top-selling soundtrack album of all time before being supplanted by The Bodyguard some 15 years later. It's also the only disco record (so far) to win the Grammy for Album of the Year, and one of only three soundtracks (besides The Bodyguard and O Brother, Where Art Thou?) to win that category. It was the number one album on the Billboard charts for the entire first half of 1978, and stayed on the charts until March 1980, long after the supposed death of disco.

5. THE MOVIE EXTENDED DISCO'S LIFESPAN BY A FEW YEARS.

Disco had been popular enough in the mid-1970s to land multiple disco tunes on the Billboard charts, but by the end of 1977, when Saturday Night Fever came out, the backlash had started and the trend was on its way out. But thanks to the movie (and its soundtrack), not only did disco not die out, it achieved more widespread, mainstream, middle-America success than it ever had before.

6. IT HAS SOME ROCKY CONNECTIONS.


Paramount Pictures

First connection: It was supposed to be directed by John G. Avildsen, whose previous film was Rocky. Ultimately, that didn’t work out and Avildsen was replaced with John Badham a few weeks before shooting began. Second connection: Tony has a Rocky poster on his bedroom wall. Third connection: Saturday Night Fever’s 1983 sequel, Staying Alive, was directed by ... Sylvester Stallone.

7. TRAVOLTA WAS ALREADY SO FAMOUS THAT MAKING THE MOVIE WAS A HASSLE.

Saturday Night Fever made Travolta a movie star, but he was already a teen heartthrob because of the popular sitcom Welcome Back, Kotter, where he played a delinquent teenager with the hilarious and timeless catchphrase "Up your nose with a rubber hose." Still, nobody was prepared for how Travolta's fame would affect the movie, which was to be shot on the streets of Brooklyn. As soon as the neighborhood found out Travolta was there, the sidewalks were swarmed by thousands of onlookers, many of them squealing teenage girls. (Badham said there were also a lot of teenage boys holding signs expressing their hatred for Travolta for being more desirable than themselves.)

Co-star Donna Pescow said, "The fans—oh, my God, they were all over him. It was scary to watch." Badham said, "By noon of the first day, we had to shut down and go home." Since it was nearly impossible to keep the crowds away (or quiet), Badham and the crew resorted to filming in the middle of the night or at the crack of dawn. 

8. THE WHITE CASTLE EMPLOYEES WEREN'T ACTING WHEN THEY LOOKED SHOCKED. 


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In the brief scene where Tony, his boys, and Stephanie are loudly eating at White Castle, those were the real burger-flippers, not actors. Badham told them to just go about their business. He also told his actors to cut loose and surprise the White Castlers in whatever way they saw fit. The shot that's in the movie appears to be a reaction to Joey standing on the table and barking, but Badham said it was actually in response to something else: "Double J (actor Paul Pape) pulling his pants down and mooning the entire staff of the White Castle."

9. THE FEMALE LEAD GOT THE PART THANKS TO A SERENDIPITOUS CAB RIDE.

Casting the role of Tony's dance partner, Stephanie, proved difficult. Hundreds of women auditioned, but nobody seemed right. Meanwhile, 32-year-old Karen Lynn Gorney was looking for her big break into show business. As fate would have it, she shared a cab with a stranger who turned out to be producer Robert Stigwood's nephew. He mentioned that his uncle was working on a movie, and Gorney replied, "Oh, am I in it?"— her standard joke whenever she heard about a film being made. The nephew wound up submitting Gorney as a candidate, and the rest is history. 

10. TRAVOLTA’S GIRLFRIEND DIED DURING FILMING.

John Travolta stars in Saturday Night Fever (1977)
Paramount Pictures

Travolta met Diana Hyland on the set of the TV movie The Boy in the Plastic Bubble, in which she played his mother. (She was 18 years older than him.) They had been dating for six months when Hyland succumbed to breast cancer at the age of 41, after filming just four episodes of her new gig on Eight Is Enough. Travolta was able to leave Saturday Night Fever and fly to L.A. in time to be with her before she died, then had to return to work. 

11. THE COMPOSER HAD TO SCRAMBLE TO REPLACE A NIXED SONG.

For Tony and Stephanie's rehearsal scene about 30 minutes into the movie, Badham had used the song "Lowdown" by Boz Scaggs, going so far as to shoot the scene, including the dialogue, with the song actually playing in the background. (That's usually a no-no, for exactly the reasons you're about to read about.) According to Badham, no sooner had they wrapped the scene than Scaggs' people reached out to say they couldn't use the song after all, as Scaggs was thinking of pursuing a disco project of his own. Badham now had to have the actors re-dub the dialogue (since the version he'd recorded was tainted by "Lowdown"); what's more, he had to find a new song that would fit the choreography and tempo of the dancing. Composer David Shire rose to the occasion, writing a piece of instrumental music that met the specifications, and that’s what we hear in the movie. 

12. THEY MADE UP A DANCE BECAUSE THE CHOREOGRAPHER DIDN'T SHOW UP.

In another rehearsal scene 55 minutes into the movie, Tony and Stephanie do the "tango hustle," which looks like a combination of both of those dances. This was something Travolta and Gorney invented as a matter of necessity: the film's choreographer didn't realize he was supposed to be on the set that day, and the actors didn't have any steps prepared. The tango hustle, alas, never quite caught on.  

13. TONY’S ICONIC WHITE SUIT WAS SUPPOSED TO BE BLACK.

Travolta and Badham both assumed Tony's disco outfit would be black, as men's suits tended to be at the time. Costume designer Patrizia Von Brandenstein convinced them it should be white, partly to symbolize the character's journey to enlightenment but also for practical reasons: a dark suit doesn't photograph very well in a dark discotheque. 

14. TONY’S SUIT WAS LATER SOLD FOR $2000—THEN FOR $145,500.

Von Brandenstein took Travolta to a cheap men's clothing store in Brooklyn (swamped by teenage fans, of course) and bought the suit off the rack—three identical suits, actually, so they wouldn't have to stop filming when one became soaked with Travolta's sweat. Two of the suits disappeared after the movie was finished; the remaining one, inscribed by Travolta, was bought at a charity auction in 1979 by film critic Gene Siskel, who cited Saturday Night Fever as one of his favorite movies. He paid about $2000 for it. In 1995, he sold it for $145,500 to an anonymous bidder through Christie's auction house.

In 2012, after a lengthy search, curators at London's Victoria and Albert Museum found the owner (who still preferred to remain anonymous) and persuaded him to lend it for an exhibit of Hollywood costumes. It is now presumably back in that man's care, whoever he may be. (P.S. Badham says on the 2002 DVD commentary that the suit is on display at the Smithsonian, a tidbit repeated by NPR in 2006 and Vanity Fair in 2007. But they must be mistaken. The suit’s sale in 1995 and rediscovery for the 2012 museum exhibit are verified facts; the suit isn't in the Smithsonian's online catalogue; and finally, a 2007 Washington Post story about the Smithsonian lists the suit as one of the items the museum director wanted to get.)

Additional sources:
John Badham DVD commentary
DVD featurettes

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