Eric Deggans

Eric Deggans is NPR's first full-time TV critic.

Deggans came to NPR in 2013 from the Tampa Bay Times, where he served a TV/Media Critic and in other roles for nearly 20 years. A journalist for more than 20 years, he is also the author of Race-Baiter: How the Media Wields Dangerous Words to Divide a Nation, a look at how prejudice, racism and sexism fuels some elements of modern media, published in October 2012, by Palgrave Macmillan.

In August 2013, Deggans guest hosted CNN's media analysis show Reliable Sources, joining a select group of journalists and media critics filling in for departed host Howard Kurtz. Earlier in the same month, he was awarded the Florida Press Club's first-ever Diversity award, honoring his coverage of issues involving race and media. He received the Legacy award from the National Association of Black Journalists' A&E Task Force, an honor bestowed to "seasoned A&E journalists who are at the top of their careers." Deggans serves on the board of educators, journalists and media experts who select the George Foster Peabody Awards for excellence in electronic media.

He also has joined a prestigious group of contributors to the first ethics book created in conjunction with the Poynter Institute for Media Studies for journalism's digital age: The New Ethics of Journalism, published in August 2013, by Sage/CQ Press.

Deggans has won reporting and writing awards from the Society for Features Journalism, American Association of Sunday and Feature Editors, the Society of Professional Journalists, the National Association of Black Journalists, The Florida Press Club and the Florida Society of News Editors. In 2010, he made national headlines interviewing former USDA official Shirley Sherrod at the NABJ's summer convention in San Diego, leading a panel discussion that was covered by all the major cable news and network TV morning shows.

Named in 2009, as one of Ebony magazine's "Power 150" – a list of influential black Americans which also included Oprah Winfrey and PBS host Gwen Ifill – Deggans was selected to lecture at Columbia University's prestigious Graduate School of Journalism in 2008 and 2005. He has lectured or taught as an adjunct professor at Loyola University, California State University, Indiana University, University of Tampa, Eckerd College and many other colleges.

His writing has also appeared in the New York Times online, Salon magazine, CNN.com, the Washington Post, Village Voice, VIBE magazine, Chicago Tribune, Detroit Free Press, Chicago Sun-Times, Seattle Times, Emmy magazine, Newsmax magazine, Rolling Stone Online and a host of other newspapers across the country.

From 2004 to 2005, Deggans sat on the then-St. Petersburg Times editorial board and wrote bylined opinion columns. From 1997 to 2004, he worked as TV critic for the Times, crafting reviews, news stories and long-range trend pieces on the state of the media industry both locally and nationally. He originally joined the paper as its pop music critic in November 1995. He has worked at the Asbury Park Press in New Jersey and both the Pittsburgh Post-Gazette and Pittsburgh Press newspapers in Pennsylvania.

Now serving as chair of the Media Monitoring Committee for the National Association of Black Journalists, he has also served on the board of directors for the national Television Critics Association and on the board of the Mid-Florida Society of Professional Journalists.

Additionally, he worked as a professional drummer in the 1980s, touring and performing with Motown recording artists The Voyage Band throughout the Midwest and in Osaka, Japan. He continues to perform with area bands and recording artists as a drummer, bassist and vocalist.

Deggans earned a Bachelor of Arts in political science and journalism from Indiana University.

Transcript

DAVID GREENE, HOST:

Not sure if you heard or not, but American Idol just crowned a new winner.

(SOUNDBITE OF TV SHOW, "AMERICAN IDOL")

RYAN SEACREST: The winner of "American Idol," season 13, is Caleb Johnson.

Orange is the New Black has always been a bit of a head fake.

Creator Jenji Kohan has admitted she uses the story of WASPy prison inmate Piper Chapman to draw TV audiences into stories about the types of women who rarely take centerstage in more mainstream fare: a transgender woman, an older Russian woman, poor and undereducated black and Hispanic women and the mentally ill.

A death, a divorce, a song and dance number and a sale; must be the end of another Mad Men season.

Creator Matt Weiner has a reputation for ending seasons on a melodramatic note. And even though this year's run of Mad Men episodes was cut in half by AMC to set the series finale next year, Sunday's "Waterloo" still managed to close 2014's seven-episode run with a jolt.

Every so often, storytellers land on the same idea close enough to the same time that it rattles the zeitgeist like an earthquake.

For those of us who have spent time arguing for increased ethnic and cultural diversity on television, the last seven days have felt like a fantasy fever dream.

This week, the big broadcast networks announced their schedules for the 2014-15 TV season during the industry's "upfront" presentations to advertisers. And there are 10 new series featuring non-white characters and/or show creators – numbers we haven't seen since the days when everybody was trying to clone The Cosby Show.

When I showed up at Funny or Die's West Hollywood headquarters earlier this year, staffers weren't hanging out with Will Ferrell or taping a cool new video with the president.

They were kicking around a ball.

"The Internet went out for 10 minutes, so we were playing soccer," said one young staffer, nudging around a ball in a set of offices that looked more like the home base of a Silicon Valley startup than a comedy incubator.

It was just growing pains; at the time, the company was completing its third move in four years.

He's known as an astute comic observer with an unerring ability to skewer the most hypocritical moments of modern life. But it turns out Louis C.K. can also be a surprising example of TV's double standard when it comes to men, women and weight. He complains about his tubby body in part of his standup act. But on his TV show, his love interests are often beautiful, thin actresses like Parker Posey and Yvonne Strahovski.

It's rubber meets the road time in TV land.

Today begins the week in which the nation's big broadcast networks officially unveil their new schedules for the 2014-15 TV season to New York's advertising community – and by extension, the world.

It's not often the gods of TV hand you almost exactly what you ask for.

So it's time to praise Comedy Central for trying something different in late night, handing Stephen Colbert's time slot to the guy who plays The Daily Show's "senior black correspondent," Larry Wilmore.

This is the moment that launched a TV revolution, every week. The police roll call: Sgt. Phil Esterhaus faced his colleagues — a paternal, knowing grin on his face — while he ran down the day's advisories about a black male pickpocket wearing a blond wig and purple dress, or the need for officers to catch a rapist terrorizing their precinct.

"Let's spend a little less time flirting with the hookers and the waitresses and put some heavy attention on that park," Esterhaus told his patrolmen in one roll call, sparking laughter and feigned denials from the crowd.

Let's get one thing straight right away: Fox's new version of 24 references all sorts of newfangled ideas about politics, espionage and terrorism — from the use of drones to kill America's enemies to efforts by hackers in the Edward Snowden mold to expose governments' illegal acts.

But the heart of Fox's slimmed-down 24: Live Another Day is the same as it's always been: a principled, misunderstood Jack Bauer letting no rule book, villain or clueless bureaucrat stop him from doing what must be done for the greater good.

As has become the recent custom over at CBS, when Craig Ferguson decided to announce his departure from The Late Late Show on Monday, he had a self-deprecating joke ready.

Fans who worried that John Oliver's new HBO program might somehow diminish his legacy at The Daily Show can rest easy.

Because apparently he's decided to copy it.

My first hint that a recent column on diversity in late-night TV had made an impact came when I saw a tweet from an old acquaintance.

He runs a website and blog devoted to covering television and had decided to write a post based on my audio story on late-night TV. He then sent out a Twitter message with the headline:

No one can send up sexism with a punch line quite like Amy Schumer.

"A lot of the women's magazines are supposed to, like, be confidence building, but they really just scare ... you so you buy the products in them," she says in one stand-up routine. "Like, they all will put Jessica Alba or somebody like that on the cover. And she's supersexualized no matter what magazine. ... And you're like, 'Good Housekeeping?' "

When I saw the first episode of BBC America's Orphan Black last year, I was convinced it was a crappy Canadian police drama.

That's because the set-up seemed like the oddest sort of crime procedural nonsense. A street urchin-style grifter sees a middle class woman who looks just like her leap in front of a commuter train, nabs her purse and climbs into her life – only to find her doppelganger is a troubled police officer with problems of her own.

CBS is planning a one-hour season finale for Robin Williams' The Crazy Ones. It was one of three sitcoms built around big established stars this season, all three of which suffered in the ratings. It raises the question: Does television make stars, or is it the other way around?

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

There is a moment, deep inside the first episode of FX's excellent re-imagination of the Coen brothers' masterful film Fargo, when a police officer gets a phone call.

He's sleeping next to his pregnant wife. It's early. And the well-meaning but sometimes complacent police chief is suddenly called to the scene of a bizarre crime.

***For Mad Men fans who missed Sunday night's Season 7 premiere, be warned: There are spoilers below.

Don Draper finally told the truth, and it ruined his life.

Perhaps that shouldn't have been such a surprise. Because Don has mostly been a master of the lie — especially in the form of an ad pitch. And he never lost his touch: He suckered everyone last season with one of his best pitches for Hershey's chocolate bars.

CBS just ended the longest-running joke in TV history by naming Stephen Colbert to succeed retiring late-night host David Letterman

That's because Colbert, who has won all kinds of acclaim playing fictional right-wing cable TV news host "Stephen Colbert" on The Colbert Report, will now play a new character when he takes over Letterman's Late Show:

Himself.

The Weather Channel will return to DIRECTV on Wednesday, ending a three month dispute which saw the cable channel yanked from the satellite television system reaching 20 million subscribers.

But the new agreement comes with a price: the Weather Channel has agreed to cut back its reality programming by half during weekdays, restore instant local weather and allow DIRECTV subscribers to watch the cable channel on a range of devices in and out of their homes.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

MELISSA BLOCK, HOST:

This is ALL THINGS CONSIDERED from NPR News. I'm Melisa Block, hosting this week from member station KERA in Dallas.

ROBERT SIEGEL, HOST:

And I'm Robert Siegel in Washington.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

ROBERT SIEGEL, HOST:

David Letterman, the longest-serving late night television host, is retiring.

(SOUNDBITE OF SHOW, 'LATE NIGHT WITH DAVID LETTERMAN')

At first, the idea of canceling The Colbert Report over a wayward tweet sounded like handing out the death penalty for a speeding ticket.

And as much as I understand the notion of using a provocative hashtag to fuel an important conversation, the #CancelColbert controversy mostly shows the difficulty of deciding just how offensive a joke based in stereotypes really is.

And there's a more important question: Once you determine something awful happened, how does it get fixed?

The view from inside a media circus is an odd one, indeed.

But I got a glimpse of the scenery a few days ago, when CNN asked me to weigh in on the similarities between the real-life missing Malaysia Airlines Flight 370 and the myriad of fictional TV shows or movies where similar events have unfolded.

Why are we so drawn to these stories? anchor Suzanne Malveaux asked me in a few different ways, perhaps wanting an emotional take on how the plane crash scene in the TV series Lost or the film Alive could have ended Flight 370's mysterious voyage.

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

AUDIE CORNISH, HOST:

It might have been the most diverse Academy Awards telecast in recent memory.

Sunday night's broadcast was capped by British director Steve McQueen accepting a best picture Oscar for his film 12 Years a Slave — the first film directed by a black man to earn that honor. His emotional acceptance speech was dedicated to "all of the people who endured slavery and the 21 million people who still suffer slavery today."

Copyright 2017 NPR. To see more, visit http://www.npr.org/.

DAVID GREENE, HOST:

TV fans might notice an explosion of new material on the small screen this week. That's because many TV networks and cable channels delayed airing new episodes of shows, or the start of news series, until after the Winter Olympics ended.

The best thing about late-night TV can also be the trickiest.

On the fringes of TV's big stage, shows airing after midnight can be a home for invention; a place where quirky personalities and developing talent can try things with the potential for massive success or demoralizing failure with relatively low stakes.

That history — and its potential for greatness — may be one reason why Seth Meyers' funny, well-paced, completely professional debut Monday as the new host of NBC's 12:35 a.m. Late Night show nevertheless left me a little underwhelmed.

Pages