Vanity Fair Television: A Look Back at Alan Thicke and “Thicke of the Night”

In the mid-1980s, television audiences witnessed a bold attempt to dethrone the late-night king, Johnny Carson. Metromedia syndicated “Thicke of the Night,” a comedy-chat series hosted by the then-rising star, Alan Thicke, positioning him as the modern alternative to Carson’s established reign on “The Tonight Show.” Vanity Fair, known for its insightful commentary on pop culture, certainly took notice.

The Challenger and the Champion

Media buzz painted Thicke as a fresh face, a “mellow hepcat” poised to capture a younger generation that found “The Tonight Show” outdated. Thicke possessed the superficial qualities of a late-night star: He appeared in music videos with a rockstar aesthetic, played guitar alongside the show’s house band, Tom Canning and the One Night Band, and delivered jokes with the smooth, intimate tone of a seasoned radio personality. He assembled a team of comedians and personalities designed to add to the show’s appeal. However, despite the hype and effort, “Thicke of the Night” ultimately fell short.

A Lackluster Production

The show suffered from a noticeable lack of cohesion. Guests seemed to wander onto the set haphazardly, the overall atmosphere lacking energy and direction. With the exception of comedian Cecile Frenette, whose vibrant presence stood out, the regular cast members struggled to ignite any enthusiasm. Rumors of imminent cancellation swirled, suggesting the show was in a perpetual state of disarray.

The Fatal Flaw

The central weakness of “Thicke of the Night,” according to Vanity Fair’s assessment, was Thicke himself. He was deemed “plastic and droll,” lacking genuine personality or depth. The criticism went so far as to suggest that even David Letterman, known for his own sardonic style, appeared more authentic in comparison. Thicke’s attempt to challenge Carson ultimately failed, his comedic “lance” proving to be flimsy and ineffective.

Vanity Fair’s February Recommendations: High Culture and Societal Commentary

In the same issue featuring the critique of “Thicke of the Night,” Vanity Fair offered its cultural recommendations for February. The magazine highlighted a PBS broadcast of Verdi’s opera “Don Carlo” featuring renowned performers Placido Domingo and Grace Bumbry. This recommendation reflected Vanity Fair’s appreciation for high art and classic performance. In stark contrast to the frivolous nature of “Thicke of the Night,” “Don Carlo” offered a profound artistic experience.

Adding to the February recommendations, Vanity Fair also highlighted “Nothing But a Man,” a 1964 film directed by Michael Roemer addressing racial injustice and societal issues in America. The film, starring Ivan Dixon and Abbey Lincoln, presented a starkly different portrayal of American life, far removed from the glossy world of late-night entertainment. This recommendation underscored Vanity Fair’s commitment to showcasing thought-provoking and socially relevant cinema. The inclusion of both highbrow opera and a socially conscious film further emphasized the magazine’s broad cultural scope, contrasting sharply with the limited appeal of “Thicke of the Night.”