Glen A. Larson, Creator of TV’s 'Quincy M.E.,' 'Magnum, P.I.' and 'Battlestar Galactica,' Dies at 77

Glen A. Larson, the wildly successful television writer-producer whose enviable track record includes Quincy M.E., Magnum, P.I., Battlestar Galactica, Knight Rider and The Fall Guy, has died. He was 77.

Larson, a singer in the 1950s clean-cut pop group The Four Preps who went on to compose many of the theme songs for his TV shows, died Friday night of esophageal cancer at UCLA Medical Center in Santa Monica, his son, James, told The Hollywood Reporter.

Larson also wrote and produced for such noteworthy series as ABC’s It Takes a Thief, starring his fellow Hollywood High School alum Robert Wagner as a burglar now stealing for the U.S. government, and NBC’s McCloud, with Dennis Weaver as a sheriff from Taos, N.M., who moves to Manhattan to help the big-city cops there.

After ABC spurned the original pilot for The Six Million Dollar Man (based on the 1972 novel Cyborg), Larson rewrote it, then penned a pair of 90-minute telefilms that convinced then-network executive Barry Diller to greenlight the action series, which starred Lee Majors as a former astronaut supercharged with bionic implants.

Other shows Larson created included Alias Smith & Jones, B.J. and The Bear, Switch (another series with Wagner), Manimal and The Misadventures of Sheriff Lobo. He spent his early career at Universal Studios, inventing new shows and reworking others, before moving to 20th Century Fox in 1980 with a multiseries, multimillion-dollar deal.

With Lou Shaw, Larson conceived Quincy M.E., which starred Jack Klugman — coming off his stint on The Odd Couple — as a murder-solving Los Angeles medical examiner. A forerunner to such “forensic” dramas as CSI, the series ran for 148 episodes over eight seasons on NBC from 1976-83.

CBS’ Magnum, P.I., toplined by Tom Selleck as a charismatic Ferrari-driving private instigator based in Oahu, Hawaii, also aired eight seasons, running from 1980-88 with 162 installments. Larson created the ratings hit with Donald Bellisario, with whom he had worked on Quincy and Battlestar.

NBC’s Knight Rider, starring David Hasselhoff as a crime fighter aided by a Pontiac Trans-Am with artificial intelligence (K.I.T.T., drolly voiced by William Daniels), lasted four seasons and 90 episodes from 1982-86. And ABC’s Fall Guy, with Majors as a stuntman who moonlights as a bounty hunter, prevailed for five seasons and 113 episodes spanning 1981-86.

If you’re counting, Quincy, Magnum, Knight Rider and Fall Guy accounted for 513 hours of television and 21 combined seasons from 1976-88.

During a 2009 interview with the Archive of American Television, Larson was asked how he could possibly keep up with such a workload.

“I tried to stay with things until I thought they were on their feet and they learned to walk and talk,” he said.

“If you believe if something, you must will it through, because everything gets in the way. Everyone tries to steer the ship off course.”

Battlestar Galactica lasted just one season on ABC from 1978-79, yet the show had an astronomical impact. Starring Lorne Greene and Richard Hatch as leaders of a homeless fleet wandering through space, featuring special effects supervised by Star Wars’ John Dykstra and influenced by Larson’s Mormon beliefs, Battlestar premiered as a top 10 show and finished the year in the top 25. But it was axed after 24 episodes because, Larson said, each episode cost “well over” $1 million.

“I was vested emotionally in Battlestar, I really loved the thematic things. I don’t feel it really got its shot, and I can’t blame anyone else, I was at the center of that,” said Larson, who years early had written a sci-fi script, Adam’s Ark, with a theme similar to Battlestar’s and had been mentored by Star Trek's Gene Coon. “But circumstances weren’t in our favor to be able to make it cheaper or to insist we make two of three two-hour movies [instead of a weekly one-hour series] to get our sea legs.”

Much like Star Trek before it, Battlestar became much more beloved after it was canceled. Universal packaged episodes into two-hour telefilms and added a “Battle of Galactica” attraction to its studio tour that proved hugely popular. A new version debuted in 2004 on the Sci-Fi Channel, followed by a spinoff, Caprica.

Writer Harlan Ellison, in a 1996 book about his Star Trek teleplay for the famous episode “City on the Edge of Forever,” infamously called him “Glen Larceny,” accusing him of using movie concepts for his TV shows.

It often has been noted that Battlestar premiered soon after Star Wars, that Alias Smith & Jones arrived shortly after Butch Cassidy & the Sundance Kid and that the setups for McCloud and B.J. and The Bear bore similarities to the Clint Eastwood films Coogan’s Bluff and Every Which Way But Loose, respectively.

“Larson is undeniably a controversial figure in TV history because of his reputation for producing video facsimiles of popular films, but scholars, fans and critics should also consider that ‘similarity’ is the name of the game in the fast world of TV productions,” John Kenneth Muir wrote in his 2005 book, An Analytical Guide to Television’s Battlestar Galactica. “Shows are frequently purchased, produced and promoted by networks not for their differences from popular productions, but because of their similarities.”

Fox in 1978 sued Battlestar studio Universal for infringing on Star Wars copyrights but lost the suit years later, vindicating Larson, who described his TV show as “Wagon Train heading toward Earth.”

He also said that Alias Smith & Jones was “certainly in the genre of Butch Cassidy, a New Wave western” and compared B.J. and the Bear to something along the lines of the 1977 film Smokey & the Bandit.

“Television networks are a lot like automobile manufacturers, or anyone else who’s in commerce. If something out there catches on with the public … I guess you can call it ‘market research,’ ” he said in the TV Archive interview. “You can go in and pitch one idea at a network and they’ll say, ‘You know, we’d really like it if you had something a little more like this.’ ”

And the trend goes on: new versions of Battlestar, Knight Rider, Manimal, Six Million Dollar Man and The Fall Guy have been floated about for the big screen in recent years.

Glen Albert Larson was born an only child on Jan. 3, 1937, in Long Beach, Calif. He and his parents moved to Los Angeles when he was young, and he became enthralled with the art of storytelling while listening to hour after hour of radio shows.

He met Wagner while hitchhiking to Hollywood High and landed a job as a page at NBC, then home to such live anthologies as Lux Video Theatre and Matinee Theatre.

Music took over when Capitol Records A&R exec Nik Venet signed The Four Preps to a long-term contract in 1956, and the wholesome youngsters recorded such hits as “Twenty Six Miles (Santa Catalina),” “Big Man," “Dreamy Eyes” and "Down by the Station."

“Ultimately, The Four Preps’ biggest influence can be heard via their impact on Brian Wilson, whose harmony-driven production for The Beach Boys was a direct antecedent of The Four Preps’ sound,” or so says a biography of the group on AllMusic.com.

The Preps appeared on The Adventures of Ozzie & Harriet, The Ed Sullivan Show and American Bandstand, played college campuses around the country and toured the world. But with a new wife and child, Larson wanted to get off the road, so he pursued a career in television and sold a story idea for a 1966 episode of The Fugitive.

Larson then wrote an episode of It Takes a Thief, and within the short span of a season he went from story editor to producing the series.

He created his first show, the ABC Western Alias Smith and Jones, which starred Peter Duel and Ben Murphy as outlaw cousins trying to go straight. He exited the series soon after Duel died of a self-inflicted gunshot on New Year’s Eve in 1971.

He did not get along with Klugman on Quincy and eventually left the show in the hands of Bellisario.

Selleck, who was under contract at Universal and had done a couple of pilots that had not made it to series, was obligated to do Magnum, whose pilot was written by Bellisario.

“We got the star, it was a perfect fit,” said Larson, who was a fan of the 1960s CBS series Hawaiian Eye, which centered on a detective agency. “I had a house over there [in Hawaii] and a guy [like Selleck’s character] who lived in a guest house and took care of it.”

Larson based the unseen novelist character Robin Masters, the owner of the home, on author Harold Robbins.

After years at Universal — where he also did The Hardy Boys/Nancy Drew Mysteries for ABC and Buck Rogers in the 25th Century for NBC — Larson left for Fox. But to get out of his Universal deal, he had to give the studio one more show, and that would be Knight Rider.

“Michael Knight [Hasselhoff’s character] in a way is a prototyped by the Lone Ranger,” Larson said. “If you think about him riding across the plains and going from one town to another to help law and order, then K.I.T.T. becomes Tonto.”

At Fox in the spring of 1983, he sold four new series: Manimal to ABC and Trauma Center, Automan and Masquerade to ABC, but all were quickly canceled.

Larson’s next show, CBS’ Cover Up — about a photographer (Jennifer O’Neill) who replaces her late husband as an undercover CIA agent — lasted one season. During production, actor Jon-Erik Hexum died as a result of an accidental self-inflicted blank-cartridge gunshot wound on the set.

In July 2011, Larson sued Universal, alleging a decades-long fraud perpetrated by a studio that he said never once sent him profit participation statements despite his shows earning hundreds of millions of dollars.

More recently, Larson reteamed up with The Four Preps, reuniting in 2004 for a PBS reunion show, Magic Moments, with best friends and fellow group members David Somerville and Bruce Belland.

Survivors include his wife Jeannie, brother Kenneth and nine children (including his son James) from former wives Carol Gourley and Janet Curtis: Kimberly, Christopher, Glen, Michelle, David, Caroline, Danielle and Nicole.

Despite his remarkable career churning out hits, Larson earned but three Emmy nominations, two for producing McCloud and one (for outstanding drama) for Quincy. He never won.

His shows, Larson said in the TV Archive interview, “were enjoyable, they had a pretty decent dose of humor. All struck a chord in the mainstream. What we weren’t going to do was win a shelf full of Emmys. We got plenty of nominations for things, but ours were not the kind of shows that were doing anything more than reaching a core audience. I would like to think we brought a lot of entertainment into the living room.”

RIP

I’d rather the original Battlestar Galactica than that new age version with the dumb ass heavy handed terror war parables.

Battlestar Galactica’s discussion of religion, sometimes controversially (Mormonism in the first series) and monotheism versus polytheism in the second, plus ethics versus religion and both, predestination versus free will, are certainly superior to Star Trek’s “all religion is stupid”.
Though Babylon 5 was certainly better in both respects, with an observant Jewish woman as second in command and Catholic monks prominent in several episodes. And alien religions actually getting respect, not just “you have a religion, therefore you are inferior to the atheists”.

Roddenberry’s militant atheism was one of the most irritating things about the first few seasons of Star Trek: The Next Generation. It was part of a general smugness and condescension that permeated the show until Roddenberry’s death. Bugged the heck out of me. Riker being snotty about aliens who ate real meat, Troi being snotty about aliens who think the man who impregnated their daughter ought to marry her, etc.

I always thought it was interesting how the post-Roddenberry Trek show Deep Space Nine (which “borrowed” from B5 quite a bit, too) was so much more willing to present faith in a positive light.

I liked the first season of Buck Rogers. It was a fun, James Bond meets Flash Gordon kind of adventure. (They even had Buster Crabbe guest star in one episode!) The second seemed like it tried to ape aspects of Battlestar Galactica by having another deep space search for humans. It didn’t work as well.

I’ve noticed that the original Battlestar Galactica has a lot of pro-military, anti-appeasement sentiments. At one point in the original movie, Sire Uri argues that the Colonials didn’t even come into conflict with the Cylons until they freed another race from Cylon rule and that they ought to just lay down their arms to prove the human race is no threat to the Cylons. Adama treats the whole notion with contempt. I wonder sometimes if Larson had at least some conservative leanings on war and peace.

I’ve been tempted to go back and revisit the “Buck Rogers” tv-series, as I recall it had a refreshingly breezy approach which I particularly appreciated when it was new. But I remember catching a glimpse of an episode about a decade ago on tv, and cringed more than a little at the disco-era ambiance in fashions and set-design. That’s one particular little ‘visual era’ that I tend to viscerally balk at, for some reason. The 1939 serial, even though a bit clunky, actually seems less uncomfortably dated to me!

Possibly Larson did have such leanings. I noted curiously he didn’t get along with Jack Klugman when developing “Quincy”, so it’s possible it might’ve been a political spat (not to say Klugman wasn’t a great actor, he was, but I hate when actors insist on injecting a heavy dose of discredited politics which diminish a show).

This article reviewing a book covering the original BG bolstered my thinking of Larson’s political leanings, as the author in question trashed BG for portraying the military in a favorable light and calling the show “fascistic,” and knocks Adama for being like Pat Robertson and Jerry Falwell. If Larson’s work managed to draw ire like this, it’s a good sign.

http://www.oocities.org/sjpaxton/muir.html

I should go back and rewatch the series. I believe I haven’t seen an episode in its entirety in over 30 years when they ran it on Saturday afternoons on the local CBS affiliate (just before episodes of CHiPs).

I see the author of the piece wasn’t too wild about Maren Jensen, whom I’ll readily admit to still having a crush on. So what if she didn’t have the acting chops of Katherine Hepburn ? She was a pretty, mixed-race model in her early 20s.

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