Remembering Eddie Haskell, TV’s ultimate wiseass

When I wrote for my college newspaper, I began covering hard news, though I longed to write features and entertainment stories. One of my first half-dozen articles was just that, a story about former “Leave It to Beaver” actor Ken Osmond doing a modest one-man show on campus. 

Osmond played oily, two-faced teen Eddie Haskell on the popular television show. The actor, who could never parlay his wily Haskell image into further acting gigs, died yesterday at age 76. 

I feel kind of bad sharing this, but the following is my very green, very irreverent review of Osmond’s appearance on my college campus so many years ago. The headline, which I didn’t write, reads: “Leave it to Eddie Haskell to empty the auditorium.” 

Watching Ken Osmond, Eddie Haskell of TV’s “Leave It to Beaver,” Wednesday was reminiscent of those news clips of a beaten Richard Nixon kicking around the beach in giant Bermuda shorts — a fall from grace into the ranks of pitiful anonymity.

Osmond’s lecture-presentation attracted no more than 25 people, the type that go ga-ga over cult personalities even after their coolness has long diminished. At one point, Osmond felt obliged to apologize for the thin turnout. The whole scene made me feel kind of sad inside. 

Just minutes before the Associated Students-sponsored show began, Osmond aimlessly paced around the vast, empty auditorium — hands in pockets, head down. I thought at any minute he might ask me for spare change.

Currently, Eddie, as everyone addressed Osmond, is a dead ringer for Jimmy Durante. Tan, wrinkled, and graying, Eddie donned faded 501s and, in a feeble attempt at nostalgia, a blue Mayfield High letter sweater. At about 5 feet 11 inches and 130 pounds, Osmond preserved his boyish, gee-whiz mannerisms that made him a cult commodity and even demonstrated some classic Eddie wisecracks to the group’s delight.

But that was about as good as it got.

In an obvious move to kill time, Eddie played a 20-minute video compilation of bloopers and behind-the-scenes clips from “The New Leave it to Beaver Show,” television’s windless attempt to breathe new life into the Beave’s popularity and the producer’s wallet. The series, which ran sporadically from 1984-89 on syndicated television, is on a humor level a notch below “Who’s the Boss?” The video reflected this pie-in-the-face brand of inanity.

The video showed Wally and a tubby Beaver — now adults — blowing their lines, then slapping each other on the back as they guffawed like madmen. Even June Cleaver got in on the laugh riot shenanigans as she goofed on camera then yelled, “Goddammit!”

The purpose of the clips were to show the audience that these characters whom we’ve grown up with are real people who can make real mistakes. Almost unbearably, Osmond even apologized for the video because of the audible laugh deficit during the presentation. There were more cringes than chuckles. 

“I’ve been doing Eddie for 34 years,” Osmond said. “I can just turn him off and on at will. It’s almost schizophrenic.”

And so he demonstrated for an audience member. “Why, that’s a lovely jacket you’re wearing,” he said in Eddie’s shifty manner. Then, “Get outta here, Sam!”

But it just wasn’t the same.

Eddie unabashedly described his career move to the LA police force in 1980. “I did it strictly for financial reasons,” he confessed. 

Eddie even admonished the crowd about the dangers of pursuing an acting career. “Don’t rely on it for a living. It’s the most unstable career you could ever imagine.”

This is particularly true for Osmond, since, as he said, he is irrevocably typecast as Eddie Haskell, precluding any more acting work. “I can’t complain,” he shrugged. “Eddie’s been very good to me.”

It got really depressing when Osmond discussed how some of the original members of the real Beaver show wound up. Whitey’s in Oregon, “into his art”; Hugh Beaumont, aka Ward Cleaver, is dead; Beaver’s beloved school teacher, Ms. Landers, was in a brutal car accident and later died of cancer. And the rest of the cast — stuck in perhaps a worse fate — are doing shoddy programs like “The New Leave it to Beaver Show.” 

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Ken Osmond, aka Eddie — RIP.

Critiquing the critics

Great piece in the April issue of Harper’s Magazine titled “Like This or Die” by Christian Lorentzen. He’s a critic taking aim at the soggy state of criticism, and his article is by turns scathing and amusing and devastating.

After noting that “clichés are pandemic” in newspaper book reviews, Lorentzen says “Endless lists of book recommendations blight the landscape with superlatives that are hard to believe.” (Guilty as charged: The New York Times and New York magazine.)

He goes on:

The basic imperatives of the review — analysis and evaluation — are being abandoned in favor of a nodding routine of recommendation. You might like this, you might like that. Let’s have a little chat with the author. What books do you keep on your bedside table? What’s your favorite TV show? Do you mind that we’re doing this friendly Q&A instead of reviewing your book? What if a generation of writers grew up with nobody to criticize them?”

His sentiments remind me of the youth-pandering boosterism of Vulture and the somewhat more adult slavering of Vanity Fair, to name two obvious culprits that more often than not elect fuzzy over fulmination. They are hardly alone in hailing mediocrities like Netflix’s “Bojack Horseman” and “Stranger Things,” floridly overpraised series that reveal a critical desperation to like stuff.

Being honest isn’t the same as being sadistic. “Negativity is part of the equation,” Lorentzen says, “because without it positivity is meaningless.”

More from the article, which can be read here:

What jars is the self-satisfaction expressed by people who should know better. Editors and critics belong to a profession with a duty of skepticism. Instead, we find a class of journalists drunk on the gush. In television, it takes the form of triumphalism: a junk medium has matured into respectability and its critics with it. In music, there is poptimism, a faith that whatever the marketplace sends to the top must be good.”

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The unhilarious “Bojack Horseman” — yet one example of a series overrated by TV critics desperate to cling onto something in the bleak crap-o-sphere.