Glen A. Larson: A portrait
A career overview of one of television's most popular producers
My interest in those who made the films and TV shows I watched started in the 1980s. I’m not sure how exactly it started, but if I had to guess I’d say it was because I kept seeing the same names popping up on all the shows I liked to watch. The first ones I noticed were Stephen J. Cannell, Donald P. Bellisario, and Glen A. Larson. It always fascinated me (and still does) to trace connections between shows. And, of course, to see how some of these people influenced later productions.
I’ve always wanted to write about these creatives—and did for the first time (in French) in 1995 when I published a book about Aaron Spelling. This Substack is an opportunity to do so on a more regular basis.
After covering Steven Bochco a couple of weeks ago, I propose to now delve into the works of one of my earlier ‘heroes’ (sorry, but I couldn’t come up with a more appropriate term).
THE EARLY YEARS
Born on January 3, 1937, Glen Larson began as a singer in a high school band with three fellow students. They were signed to Capitol Records after a label executive heard them at a talent show.
The Four Preps went on to release six albums in five years (1958-1962) with five Top 20 hits, including three gold records (two of which were co-written by Larson): “26 miles (Santa Catalina),” “Big man,” and “Down by the station.”
His first brush with television came through the band. With promotional performances on variety shows, then some acting bits—in seven episodes of The adventures of Ozzie and Harriet between 1957 and 1962, plus an uncredited appearance in the 1959 “Gidget” feature film.
After the Four Preps split up, Larson decided to explore television writing as a career. He sold his first script to Quinn Martin’s The fugitive which was made into a season 3 episode (“In a plain paper wrapper”) in 1966. This was followed, the same year, by one episode of 12 O’Clock High (“To seek and destroy”).
Freelance writing is not the steadiest kind of work, so Larson quickly moved to a staff position when he was hired as a script consultant on the first season of It takes a thief. He was promoted to associate producer on season 2, and to producer on season 3. In the course of those three seasons, he also penned 19 episodes and made his directorial debut on episode 3x16 (which he also wrote).
After this show’s cancellation, he was hired to produce the revamped ninth season of The Virginian, now rebranded as The men from Shiloh—for which he only wrote one episode. During his stint there, he also penned a 1970 episode of McCloud (“Horse stealing on Fifth Avenue”).
But Larson was not content with this. He wanted to go further. To create and, eventually, run his own shows.
His first opportunity to do this came in January 1971 when he launched Alias Smith and Jones, a western he created and produced. The show was executive produced by Roy Huggins (whom Larson had met while working on The fugitive and The Virginian).
When Alias was canceled (following the tragic death of one of its co-stars), Larson returned to McCloud as an executive producer. Because the show shot fewer episodes than others (5 to 10 instead of the usual 22-23) it gave him time to explore other projects in parallel.
During this time, he executive produced the final two pilots of The six million dollar man (writing the first of those), though he would not go on to work on the show. He also made an unsold pilot (“Fools, females and fun”) and produced one short-lived show (Get Christie Love!), and the first seasons of three popular shows that he created himself: Switch (1975-78), Quincy, M.E. (1976-83), and The Hardy Boys / Nancy Drew mysteries (1977-79).
His association with McCloud ended with its final season, in 1977. By then, his career was well on its way, with several hits already under his belt.
RISE TO FAME
In 1978, Larson launched three new series—all of them created by him.
Sword of justice was a short-lived crime show starring Dack Rambo and Bert Rosario that ran for one season. It was about a man who spent three years in jail for a crime he did not commit and who, when released, went on a crusade against crime.
Battlestar Galactica, though similarly short-lived, has left a more enduring legacy. In this cult favorite among Sci-Fi fans, the survivors of a Cylon attack on the 12 colonies search for the fabled thirteenth tribe of humanity that settled on Earth.
B.J. and the Bear was a light-hearted action comedy show that ran for three seasons about a trucker who travels with a chimpanzee and gets into all sorts of trouble. It surfed on the popularity of CB radios and shows like Movin’ on or films like “Smokey and the bandit.” Interestingly, the show was co-created by Christopher Crowe, who would later create B.L. Stryker and Seven days. He also directed an episode of Miami Vice, as well as two feature films.
While Larson focused on writing during his first decade in television, he started composing again in 1973, writing a song for the second Six million dollar pilot. He then composed the soundtrack of the “Fools, females and fun” pilot and soon started composing theme music with Get Christie Love! He also wrote or co-wrote most themes for his shows from then on, including those of Switch, Quincy, M.E., and Battlestar Galactica.
In 1979, at the height of B.J. and the Bear’s popularity, Larson launched a spinoff that focused on a recurring character: The misadventures of sheriff Lobo, with Claude Akins (who had previously starred in Movin’ on).
That same year, he adapted (with help from Leslie Stevens) the adventures of a comic strip hero for the small screen: Buck Rogers in the 25th Century. The pilot was released as a feature film before the show’s debut. It aired for two seasons, repurposing many of the sets and costumes used in Battlestar Galactica.
WELCOME TO THE EIGHTIES
Though Larson had enjoyed constant hits in the past few seasons, his popularity shot through the roof as the 80s started.
On December 11, 1980, the pilot of a new crime show aired on CBS. Created by two rising stars—Glen A. Larson and Donald P. Bellisario (who had previously collaborated on Galactica)—Magnum, P.I. was about a private eye in Hawaii with a cool attitude and a fun sense of humor. He lived in the rich estates of author Robin Masters (who is never seen), sharing the premises with the house’s caretaker, the stern Jonathan Higgins (played by the wonderful John Hillerman).
The show’s tone contributed as much to its success as the exotic settings and Tom Selleck’s natural charisma. Though Higgins likely helped as well—or, rather, the strained—sometimes explosive—chemistry between him and Magnum.
During the show’s lengthy run (8 seasons), Larson further cemented his position as a leading producer with the launch of The fall guy (1981-86) with Lee Majors, and Knight rider (1982-86) with David Hasselhoff. On a side note, he co-wrote the theme music for all those shows except for Magnum.
For those who might not be familiar with these shows, let us do a quick overview.
The fall guy was the story of a Hollywood stuntman who also worked as a modern-day bounty hunter. It was filled with action and stunts.
Knight rider is about an undercover cop who, after being disfigured and nearly killed, is given a new face and job. He now works for a public justice organization fighting crime with a ‘talking car.’ KITT is really an artificial intelligence embedded inside a black Pontiac Firebird.
THE END IS NEAR...
Throughout the 80s, Larson launched many other shows, none of which went further than a single season—though some have gained cult status over time. Here is a quick overview of those shows.
Trauma Center (1983, 13 episodes) was a medical drama set in the special unit of a fictional hospital, where staff dealt with life-threatening cases.
Manimal (1983, 8 episodes) starred Simon MacCorkindale as a wealthy man who also was a shape-shifter. He used his power to fight crime, transforming into various animals—most often a hawk or a black panther.
Automan (1983-84, 13 episodes) featured Desi Arnaz, Jr. (son of I love Lucy star Desi Arnaz) as a police officer and computer programmer who created software to help him fight crime with the use of artificial intelligence. The AI was able to materialize in the form of a hologram that could interact with the real world.
Masquerade (1983-84, 13 episodes) was the first of Larson’s only two forays into the espionage genre. In each episode, two veteran spies (played by Kirstie Alley and Greg Evigan—the B.J. of B.J. and the Bear) would chaperone amateurs who were ideally suited for a specific mission. The head of operations was played by Rod Taylor.
Cover up (1984-85, 21 episodes) starred Jennifer O’Neill as a fashion photographer who learns that her murdered husband was an undercover CIA agent. She is offered his job, using her work as a photographer as a cover-up, assisted by ex-Special Forces Mac Harper (Jon-Erik Hexum) and later secret agent Jack Striker (Antony Hamilton) who both posed as models.
Half Nelson (1985, 7 episodes) was about an ex-cop (played by Joe Pesci) who moves to Beverly Hills so he can pursue a career as an actor. In the meantime, he pays the bills by working as a bodyguard for the rich and famous and solving crimes along the way.
The Highwayman (1988, 10 episodes) followed the adventures of a mysterious lawman who worked for a secret organization and drove a futuristic truck.
Aside from the darker, post-apocalyptic slant of the latter show, one thing all of these had in common was a light-hearted tone, loads of humor, and even more action.
By the time Magnum, P.I. came off the air in May 1988, there was not a single Larson show left on the air. It was the end of an era.
ATTEMPTED COMEBACKS
After a few failed pilots, Larson finally returned to the small screen in September 1991 with a new crime show: P.S.I. luv U. This one paired Greg Evigan (B.J. again!) with Connie Sellecca. The former played a cop while the latter was a con artist. They teamed up for a sting operation but things did not go well. The two then went into the witness protection program.
Posing as a married couple, they were hired by a private detective agency (Palm Security and Investigations, the P.S.I. of the title) in Palm Springs run by Earl Holliman’s character.
This show was also the first one Larson composed the theme music of since Knight rider.
Despite the fun chemistry between the two characters and some nice settings, the show was canceled after a single season.
Three years later, Larson tried again with One West Waikiki (1994-96). Set in Hawaii, the show teamed up a forensics expert (played by Cheryl Ladd) with the state’s best homicide detective (Richard Burgi). The two did not get along but were forced to cooperate to solve crimes.
Good chemistry and a return to the familiar setting of Magnum, P.I. helped this show last a second season, but then it was quickly gone and forgotten.
Hoping the saying “Third time’s a charm” was true, Larson came back yet again, another three years later, this time with NightMan (1997-99). Adapted from a comic book created by Steve Englehart for Malibu Comics, the show was about a musician who—after being struck by lightning—can read mental frequencies. He uses his newfound power to fight crime as a superhero, wearing a mask, a cape, and a bulletproof suit.
The show ran in syndication for two seasons and featured cameos by Little Richard, Jerry Springer, Donald Trump, Simon MacCorkindale (reprising his Manimal role), and David Hasselhoff (as a villain).
INFLUENCE
Though Larson retired from television after NightMan, his legacy lives on.
There were several remakes, or attempted remakes, over the years.
The first of these was “Knight rider 2000” (1991). With Hasselhoff reprising his role as Michael Knight, it was an attempt at relaunching the series in a different, more futuristic context, though Larson was not involved in this production.
In 1997, Rick Copp and David A. Goodman developed Team Knight Rider based on Larson’s cult show. Though credited as an executive producer, Larson’s involvement was minimal.
The bigger event, of course, was the remake of Battlestar Galactica first as a two-part mini-series (2003) then an ongoing show that ran for 4 seasons (2004-2009) and several TV movies and webseries.
In 2008, yet another remake of Knight rider was aired, again for a single season. As with the Galactica remake, Larson was credited as a consulting or executive producer though he was not directly involved with the shows.
The same happened again with Caprica, the short-lived BSG spinoff that aired for 18 episodes (2010-11).
Though Glen A. Larson passed away on November 14, 2014, many of his shows are fondly remembered and continue to inspire new generations, as evidenced by the Magnum, P.I. remake that has been on the air since 2018.
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Have you watched any of Larson’s shows?
Which is your favorite?
Let us know in the comments!
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Text (c) 2023 by Alex S. Garcia.
Header image: a screenshot from a Glen Larson interview.
Four Preps EP cover from 45cat.com.
Other images: screenshots from various episodes (see captions for details).