Goodbye Garry Shandling, half-man, half-desk

HBO

I sincerely hope the Grim Reaper is taking Easter off. Not wishing to be flippant, especially in this Holy Week - and one in which we've seen the very worst that humankind can do to itself - but since the beginning of 2016 the passing of entertainers who have meant so much more to people than merely authoring memorable songs or delivering superlative performances has been relentless.

Every time another falls, obiturists and commentators struggle, understandably, to say something new and original, a task made so much harder by the archly innovative nature of those we've lost this year. And yesterday we lost another one, Garry Shandling.

Perhaps you only know Shandling for just two of his achievements, It's Garry Shandling's Show and The Larry Sanders Show: if so, you will have been blessed with having seen two of modern television's greatest game changers. That, I know, sounds like more of the same hyperbole, but for once it is valid.

The former of these two ground-breaking TV shows would probably have been the first most people outside of the Los Angeles stand-up comedy circuit would have known of Shandling. Pre-dating Seinfeld by three years, It's Garry Shandling's Show presented a similar concept, a sitcom about the stand-up comedy of its star, and focusing on male neuroses with more than a hint of Jewishness about it too.

What made Shandling's show so unique was that it was a sitcom where the borders between fiction and reality were never fully clear: set largely in an apartment which faithfully duplicated Shandling's own Sherman Oaks home, Shandling and his fellow cast members would frequently break the 'fourth wall' as they acted out scenes from the comedian's own hang-ups.

Addressing the audience in character wasn't particularly new: George Burns had done it many years before in his own sitcom, and Oliver Hardy had made the exasperated stare-to-camera a staple of his films with Stan Laurel, always to hilarious effect. But Shandling and co-writer Alan Zweibel found a new purpose in their show which ran from 1986 until 1990.

Two years after It's Garry Shandling's Show ended, Shandling hit comedy gold again with the unbelievably prescient Larry Sanders Show. Johnny Carson's retirement from The Tonight Show in May 1992 became far more than a major media event - it triggered the now-infamous battle between David Letterman and Jay Leno to succeed him (superbly chronicled, by the way, in Bill Carter's authoritative tome, The Late Shift).

To this Brit, until I visited America for the first time at the end of 1992 I had never really appreciated the cultural importance of US TV's late night talk shows. Chat shows in the UK were hardly zeitgeist-grabbing: Terry Wogan's show on BBC1 three nights a week often appeared to be nothing more than an outlet for publicists, rather than anything that would set the conversational agenda in workplaces the following morning. And while Michael Parkinson may have held the position of Britain's king of chat for his A-list interviews since the 1970s, there was little edge to them, even the more memorable encounters.

In the US, however, the late night talk shows held a commanding presence in the TV schedules, partly due to Carson's legacy. They were prized properties for the networks, maintaining affluent demographics up long after their recommended bedtimes with their formula of hosts' monologues, celebrity appearances, banter with sidekicks and wacky stunts. This was much to the delight of premium advertisers who paid healthily to associate themselves with the late night pack.

Carson had, in the words of Scottish comedian Craig Ferguson (who took on his own show - The Late, Late Show) been "your best pal and uncle and dad rolled into one", but with a cheek and a subversiveness. Letterman, more so than his rival Leno, took that cheek and subversiveness and added a proprietary brand of wiseass cynicsm. "The only person I ever watched was Dave," wrote Ferguson in his memoir American On Purpose. "He was funny and bitter and I got the feeling he secretly (or maybe not so secretly) despised showbiz." That was probably more than just at the core of Shandling's Larry Sanders.

The Larry Sanders Show was never meant to draw on the late night war of 1992, but its arrival on HBO in the midst of conflict in the August of that year was remarkable in its timing. The added spice was that Shandling had often filled in for Carson and was even considered at one point to be another potential replacement.

More than a quarter of a century on, the Sanders show is still - and should be - considered the standard by which any other satirical sitcom should be measured, and its legacy looms large in so many great shows that followed in its wake - The Office (in all its international incarnations), Arrested Development, Curb Your Enthusiasm, 30 Rock, The Thick Of It and its American cousin, Veep, Extras, Episodes, Alan Partridge - the list goes on.

Perhaps this is not surprising: spend any amount of time around the entertainment business and you will encounter its paranoias, its hang-ups, its narcissism and its insecurities, all of which Shandling captured so brilliantly with Sanders and his entourage on a fictional late night talk show.

Much like his mostly-self portrayal on It's Garry Shandling's Show, Larry Sanders took another angle on Shandling himself, now supplanted into Hollywood's morass of vanity and insecurity. The difference, though, was that The Larry Sanders Show wasn't focused entirely around Shandling's character - in one episode memorably and sycophantically described by producer Artie (the exceptional Rip Torn) as "like one of those goddamn creatures out of Greek mythology: half-man, half-desk."

Many of the wickedly funny plotlines spun from Sanders' on-screen sidekick, the relentlessly dim Hank "Hey now!" Kingsley (Jeffrey Tambor). Supporting characters also took on prominent plot pivots, played by then-up and coming comic actors like Janeane Garofalo as acid-tongued talent booker Paula (succeeded by a pre-24 Mary Lynn Rajskub), Jeremy Piven, Wallace Langham as smartarse head writer Phil, and Breaking Bad/Better Caul Saul's Bob Odenkirk as Sanders' reprehensible agent Stevie Grant.

Everybody on The Larry Sanders Show possessed egos that were easily inflated and dangerously fragile, starting with Shandling's own character and his self-popularity obsession and, on occasion, the size of his arse. The delicious irony of this, however, was that Shandling and his co-writers regularly used The Larry Sanders Show as an opportunity for celebrities to willingly send themselves up. David Duchovny - then in the throes of his original X-Files fame - often appeared as a guest on the fictional Sanders' show displaying a barely-concealed homoerotic attachment for the host, an attraction that hilariously made Shandling's character even more unnerved (Shandling would later appear in a semi-spoof episode of The X-Files, Hollywood AD, alongside Duchovny's then wife Téa Leoni).

From Jennifer Aniston to Robin Williams, Alec Baldwin to Henry Winkler, and Warren Beatty to Warren Zevon, very real stars lined up to appear on the show, as much a testament to Shandling's creation, given that these same stars would simultaneously be appearing on the promotional circuit of all the for-real late night talk shows of the day.

Garry Shandling may have started out as another Midwest shuckster plying the LA comedy clubs, but over the course of the 12 years that he made It's Garry Shandling's Show and The Larry Sanders Show, he carved himself out as one of Hollywood's sharpest observers. Credit, of course, shouldn't go entirely to him - there were co-writers on both projects - but when you look back on them now, they were both of their time and ahead of their time.

As the real late night talk shows can often be accused of, American TV is often formulaic. Neither of Shandling's most memorable creations could be accused of that. Even if his subsequent acting career didn't ever plough such rich furrows, these two shows will ensure a prominent place in TV's hall of fame, reminders that right before the 'golden age of television' came along, with heavyweight, earnest and deservedly-praised 'must-see' shows like The Sopranos, The Wire and Breaking Bad, one slightly nerdy, stereotypically neurotic Jewish comedian from Chicago broke through barriers and accepted norms with two hysterical shows that will always be regarded as nothing but genius. No more flipping.