He was, of course, most famous as Herb Tarlek on “WKRP In Cincinnati” (and “The New WKRP in Cincinnati”, which I don’t think I ever saw an episode of).
His second credit in IMDB is “Equinox“, an odd film that we watched one Halloween season. I remember us saying, “Hey, is that Herb Tarlek? It sure looks a lot like him. Wait, it is!” (His first credit is “The Equinox: Journey into the Supernatural”, the short film that was expanded into “Equinox”.) And somewhat oddly, he has some pre “WKRP” cop show credits…
…including, believe it or not, “Mannix”. (“Catspaw”, season 5, episode 13. He’s listed in IMDB as “Hypnotized man (uncredited)”.)
Heidi Ferrer, writer for “Dawson’s Creek”. She also wrote “The Hottie & the Nottie”. According to her family, she had been fighting COVID-19 for over a year, and took her own life.
The number for the National Suicide Prevention Lifeline is 1-800-273-TALK (8255). If you live outside of the United States or are looking for other help, TVTropes has a good page of additional resources.
Janet Malcolm, who you may remember from “The Journalist and the Murderer”.
Her essay began with one of the most arresting first sentences in literary nonfiction: “Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible.”
Her pronouncement enraged the journalistic firmament. Many writers insisted that this was not how they treated their subjects and accused Ms. Malcolm of tarring everyone with the same broad brush.
But what galled some journalists about the piece the most, The Times reported in 1989, “was her failure, and that of her magazine, to disclose that Miss Malcolm had been accused of the same kind of behavior, in a lawsuit filed against her by the subject of an earlier New Yorker article.”
That earlier article, a 1983 profile of the flamboyant psychoanalyst Jeffrey Masson, led to a libel suit against Ms. Malcolm that hung over her during a decade of litigation and clouded her reputation even longer.
The legal allegations were different: The MacDonald suit accused Mr. McGinniss of fraud and breach of contract; the Masson suit accused Ms. Malcolm of libel. But both suits raised serious questions about journalistic ethics — Dr. MacDonald’s about the nature of writers’ obligations to their sources, and Mr. Masson’s about what constitutes quotations and what license, if any, reporters may take with them.
The journalistic community generally judged Ms. Malcolm harshly, mostly for the finding in the Masson case that she had cobbled together 50 or 60 separate conversations with the loquacious Mr. Masson and made them appear as if he had spoken them in a single lunchtime monologue.
“This thing called speech is sloppy, redundant, repetitious, full of uhs and ahs,” Ms. Malcolm testified in her defense in 1993 during the first of two jury trials. “I needed to present it in logical, rational order so he would sound like a logical, rational person.”
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