Maureen Dowd, winner of the 1999 Pulitzer Prize for distinguished commentary, became a columnist on The New York Times Op-Ed page in 1995 after having served as a correspondent in the paper’s Washington bureau since 1986. She has covered four presidential campaigns and served as White House correspondent. She also wrote a column, “On Washington,” for The New York Times Magazine.

Ms. Dowd joined The New York Times as a metropolitan reporter in 1983. She began her career in 1974 as an editorial assistant for The Washington Star, where she later became a sports columnist, metropolitan reporter and feature writer. When the Star closed in 1981, she went to Time magazine.

Born in Washington D.C., Ms. Dowd received a B.A. degree in English literature from Catholic University (Washington, D.C.) in 1973.


LOS ANGELES

Maybe America just didn’t want to look at a redhead at that hour.

“For the record,” Conan O’Brien wryly noted in a statement addressed to “People of Earth” outlining his refusal to host NBC’s “The Tonight Show” if it was shoved back half-an-hour, “I am truly sorry about my hair; it’s always been that way.”

This is the week of the television winter press tour from Pasadena, when the networks traditionally roll out their offerings for midseason replacement shows. But there’s only one replacement show that anyone here is talking about: an NBC family drama bloodier than “The Tudors” and more inexplicable than “Lost,” a tragedy about comedy featuring an imperious emperor and his two dueling jesters in a once-mighty and now-blighted kingdom.

As NBC reeled from the fallout of Jeff Zucker’s tacit admission that his attempt to refashion the customary way Americans watch prime time had failed, Hollywood was ablaze with baldenfreude.
In a town where nobody makes less than they’re worth, and most people pull in an obscene amount more, there has been a single topic of discussion: How does Jeff Zucker keep rising and rising while the fortunes of NBC keep falling and falling?

The 44-year-old is a very smart guy who made a success as a wunderkind at “The Today Show,” but many in the Hollywood community have always regarded him as a condescending and arrogant East Coaster, a network Napoleon who never bothered to learn about developing shows and managing talent. At a moment when Zucker’s comedy double-fault was smashing relationships in L.A., he showed the talent of a Mafia boss for separating himself from the hit when he went and played in a New York City tennis tournament. (He lost in the first round.)

“Zucker is a case study in the most destructive media executive ever to exist,” said a honcho at another network. “You’d have to tell me who else has taken a once-great network and literally destroyed it.”

Zucker’s critics are ranting that first he killed comedy, losing the NBC franchise of Thursday night “Must See TV,”

where “Seinfeld,” “Friends” and “Will & Grace” once hilariously reigned; then he killed drama, failing to develop successors to the formidable “ER,” “West Wing,” and “Law & Order”; then he killed the 10 o’clock hour by putting Jay Leno on at a time when people expect to be told a story; and then he killed late night by putting on a quirky redhead who did not have the bland mass-market appeal of Leno and who couldn’t compete with the peerless late-night comedian NBC had stupidly lost 16 years ago, David Letterman.

Zucker is a master at managing up with bosses and calculating cost-per-hour benefits, but even though he made money on cable shows, he could not program network to save his life. He started by greenlighting the regrettable “Emeril” and ended by having the aptly titled “The Biggest Loser” as one of his only winners.

Certainly, Zucker greatly underestimated the deeply ingrained viewing patterns of older Americans, who have always watched the networks in a particular way. The kids come home, do their homework, the family has dinner. They’re in front of the TV by 8, and 8:30 is known as the dog-walking slot. At 9, it’s time for more comedy. As they get tired, they like to watch a fictional drama that leads into the real drama of the late local news. And then they like to laugh again so that those images of war or a local murder are not the last thing they see before bed.

America has been watching a very specific sort of guy at 11:35 p.m. for half a century, one who chuckles as Mary Tyler Moore or Sarah Jessica Parker tells an amusing story and lets us drift off by the time some stand-up comic or blow-up starlet tells a salacious joke.

Zucker rolled the dice because he wanted to show Jeff Immelt that he could get beyond his Ben Silverman debacle and get prime time to stop bleeding money (a problem he created). But he learned the hard way that it is a lot to undo.

As Mark Harris wrote in New York magazine in November, “Zucker has often behaved like the grudging caretaker of a dying giant. ... As much as Jeff Zucker would like to cast the blame elsewhere, substituting number-crunching defensiveness for enterprise, adventure, and showmanship is what helped get NBC into this mess.”

Consumed with the NBC game of musical late-night chairs,
Hollywood machers play a game of trying to figure out the last time there has been a blunder of such outlandish proportions.

Despite everything, Zucker just got his contract renewed for three years with the Comcast acquisition of NBC. “Not since J. Pierrepont Finch in ‘How to Succeed in Business Without Really Trying’ has an executive failed upwards in so obvious a fashion,” marveled one TV writer.

Another called the Leno experiment the worst mistake made by anyone in television since an ABC Entertainment executive told the Chicago affiliate chief that the network didn’t want to own and broadcast the new daytime talk show hosted by a young black woman. Her name: Oprah Winfrey.