Shelving 'Law & Order'

I can't say that the news about the cancellation of "Law & Order" was like losing an old friend. I value old friends too much to put them on the same shelf as a television show. But just the same, I'll miss being able to spend time with it.

On some level -- the one that recognizes how each hour of sitting passively in front of the TV equals 60 minutes that could be spent doing something meaningful -- I might think that NBC's decision was like losing a candy bar from my youth; I'm probably better off if it's gone.

But I doubt that.

Nowadays I have to be in the mood for candy. Since acquiring my taste for "Law & Order," however, I've found that its sweet efficiency in getting to the point usually hits the spot.

Certainly, the rush to plot resolution that drives the show in shifting from criminal investigation to prosecution made New York City a natural choice for the filming location. Who moves faster than New Yorkers?

The pace also explains why "Law & Order" proved to be an easy watch for viewers unable or unwilling to invest their time in following character development or a story arc that advances with the speed of a glacier.

If your idea of great television means a season-long game of not only connecting the dots, but first having to find them, look elsewhere. This is the anti-"Lost."

For those who saw the appeal and embraced it, "Law & Order" has been series drama without commitment. The only requirement for full enjoyment is arrival in time to hear the signature opening ("In the criminal justice system, the people are represented by two separate but equally important groups: the police, who investigate crime, and the district attorneys, who prosecute offenders. These are their stories.").

It's worked well enough to last 20 seasons, which is at least 100 in TV years, while becoming a franchise complete with spin-offs. Not bad for a show that reportedly was offered to two other networks before it found a home on NBC.

Right up until I learned that the cancellation was official, I had been rooting for the original "Law & Order" to notch the one more season it needed to surpass "Gunsmoke" in longevity among U.S. television dramas.

No doubt my father would feel differently. "Gunsmoke" with James Arness as Marshal Matt Dillon, which ran on CBS from 1955 to 1975, was probably his all-time favorite TV show and obviously, millions of others loved it with similar loyalty.

Many had come to it by simply crossing over from radio to television. As a radio program, "Gunsmoke" had a following for nearly ten years prior to its debut as a television western that targeted an adult audience.

On the strictly-audio version, which relied on actors' voices without regard to physical appearance, William Conrad -- today, best remembered for his TV work as an overweight detective in the 1970s series "Cannon" -- was an ideal radio Dillon.

Television, however, is all about appearances, whether the on-camera task calls for playing a lawman or reading the news. In that respect, James Arness showed himself to be the man for the job.

Tuning into Arness as a no-nonsense marshal was as close as it got to having John Wayne -- for my father's generation, the poster boy for a man's man, if ever there was one -- walk tall in your living room on a regular basis. In fact, Wayne did a promo for the show's first episode.

I'm old enough to remember when "Gunsmoke," as a half-hour series filmed in black and white, reigned as king of Saturday night TV for several years. Given a chance to watch it now, I'd prefer the later episodes that were an hour long and in color. They may not have ruled the national TV ratings, but those were the ones I enjoyed most for their storytelling and the picture they painted of Dodge City, Kansas a few years after the Civil War.

I admit that I started paying attention to "Gunsmoke" much the same as I have watched other TV series for the first time --- that is, sometime after nearly everyone else. For what it's worth, I may be the last person on this side of the River Nile to have discovered the greatness of "Seinfeld" before that show ended its run.

It was no different with "Law & Order."

Unlike "Gunsmoke," which starred James Arness as Marshal Dillon from start to finish, with long-term steadiness in the supporting roles of Doc Adams (Milburn Stone) and Miss Kitty (Amanda Blake), "Law & Order" launched in 1990 with a cast that would never stop changing.

By the time I caught up to it, only one of the original six cast members -- Steven Hill, the first to play the district attorney in the series -- was still around. Michael Moriarty was the executive assistant district attorney under Hill for four seasons. But even with the reruns on cable networks, I have yet to see an example of his time on "Law & Order."

When I started watching "NYPD Blue," much of the motivation had to do with my work as a reporter covering the police beat for a newspaper in Queens County. The show may have used a fictional Manhattan precinct for its detective squad, but many of the stories were inspired by cases that had occurred in Queens, including ones that I covered. I got a kick out of following the series, especially whenever I was able to recognize some of the real-life events and characters involved.

In that respect, my reason for watching "Law & Order" was very different. On "L&O," I enjoyed Jerry Orbach's veteran detective, Lennie Briscoe, and looked forward to hearing his weekly wisecrack at the opening crime scene. As a reporter, I'd certainly heard some good ones over the years at such sites.

In one case, I was on hand in a park as investigators discussed how the dead body nearby belonged to a victim who had been killed at another location and brought to the scene.

"Don't they know illegal dumping is a crime?" a detective said, and I was among those who laughed.

So, I had already developed an appreciation for the kind of dark one-liners viewers expected of Detective Briscoe. But that wasn't what got me started with "Law & Order."

In truth, it was the presence of actor Sam Waterston that drew me to check out the show in the first place. Years earlier, I had become a Waterston fan for life after seeing his film portrayals of two of my favorite characters in American literature --- Tom Wingfield, the son in "The Glass Menagerie," and Nick Carraway, the narrator in "The Great Gatsby."

Since joining "Law & Order" as Moriarty's successor, Waterston has endured with excellence, despite all the cast changes and a particular storyline. The latter boosted his character, Jack McCoy, to district attorney, but put him on a collision course with this state's governor.

In another example of how "L&O" stories were indeed "ripped from the headlines," as teasers would claim, the governor's sins included an all-too-familiar gubernatorial fondness for hookers.

In the end, the governor had about as much chance of intimidating Jack McCoy as the doomed gunfighter had of getting the drop on Matt Dillon in the opening of "Gunsmoke."

The final first-run episode of "Law & Order" airs next Monday, May 24. After that, there's always the reruns on cable TV, though it's hardly the same when you already know the verdict or the plea bargain that serves as a conclusion to the episode.

No doubt I'll miss watching Manhattan's chief prosecutor go after new offenders in our living room on a weekly basis, just as my father had been sorry to see Dodge City's marshal ride off into the sunset (though he did return in some made-for-TV movies over the years that followed).

Matt Dillon and Jack McCoy --- maybe it's only fitting that as the matter of longest-lasting TV drama is finally decided, they get to share the top shelf, after all.