Happy Babe Ruth Day! This is the poster for a lost 1927 movie starring Babe Ruth.
Music Video of the Day: Mystify by INXS (1989, directed by Richard Lowenstein)
If you were ever wondering how INXS composed their songs, this video probably doesn’t show you how it actually happened. I guess it’s possible that there was a cameraman and a sound crew present at exactly the right moment but doubt it.
It was still one of INXS’s more popular songs, peaking at 17 on the U.S. Charts.
Enjoy!
Late Night Retro Television Review: Degrassi: The Next Generation 2.14 “Careless Whisper”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sunday, I will be reviewing the Canadian series, Degrassi: The Next Generation, which aired from 2001 to 2015! The series can be streamed on YouTube and Tubi.
This week, Ellie figures something out about Marco.
Episode 2.14 “Careless Whisper”
(Dir by Laurie Lynd, originally aired on January 13th, 2003)
This episode opens with Marco, Jimmy, and Spinner playing basketball and Marco staring at the shirtless Spinner until Spinner says, “What are you looking at, fag?”
Later, when Dr. Sally (Sue Johanson) comes to give the Health class her annual sex education talk, Jimmy and Spinner ask her how a dude could be attracted to another dude. At this point, someone in the class could have and perhaps should have pointed out that Jimmy and Spinner seem to spend a lot of time together but instead, everyone just snickers.
Everyone except for Marco. As class ends, Marco is quick to tell Spinner and Jimmy that he hates gay people.
Meanwhile, Ellis is wondering why Marco never seems to show her any affection. They’re hanging out. They’re going to the movies. And yet, she feels like Marco is still more of a friend than a boyfriend….
Yes, this is the episode where Ellie figures out that Marco is gay. When Ellie asks him, “Do you like girls at all?,” Marco replies with, “I don’t know.” As we all yell, “No, Ellie!,” Ellie agrees to continue to pretend to be Marco’s girlfriend so that Spinner and Jimmy won’t make fun of him but she says that this isn’t a permanent arrangement….
Seriously, Ellie was always getting her heart broken on this show. First, she agreed to be Marco’s pretend girlfriend. Then she dated Sean, even though he was obviously still in love with Emma. Then she pursued Craig, who was incapable of loving anyone other than himself. And finally, she fell for that narcissistic college newspaper editor. Ellie deserved better and really, while I have sympathy for Marco’s struggle to accept his sexuality while being best friends with the two biggest homophobes in Canada, Marco was always at his most selfish when it came to Ellie.
That said, both Adamo Ruggiero and Stacey Farber give good performances in this episode, as Marco and Ellis respectively. Today, we kind of take it for granted that every high school-based show is going to have at least a handful of gay characters. (By the end of Degrassi’s Netflix run, almost everyone in the school was LGBTQ.) In 2003, though, an extended storyline like this was still a big deal and it undoubtedly took some guts on the part of the showrunners.
As for the B-story, Toby is totally in love with Kendra. Kendra thinks that Toby is getting a bit too possessive. Toby agrees to back off a little. Kendra, you can do better. Sorry, Tobes.
Lisa Marie’s Week In Review: 4/20/26 — 4/26/26
Patrick Muldoon, RIP.
Here’s what I watched this week:
Films I Watched:
- Carrie (1976)
- Kid Cannabis (2014)
- The Mechanic (1972)
- Predator (1987)
- Rock, It’s Your Decision (1982)
- Teenage Doll (1957)
- Weapons (2025)
- Wrong Swipe (2016)
- 1st & Ten
- Baywatch
- Boy Band Confidential
- CHiPs
- Crime Story
- Decoy
- Degrassi: The Next Generation
- Dr. Phil
- Freddy’s Nightmares
- Hollywood Demons
- Homicide: Life On The Street
- Hunter
- The Love Boat
- Making It Legal
- Pacific Blue
- Saved By The Bell
- Saved By The Bell: The New Class
- St. Elsewhere
Live Tweets:
4 Shots From 4 Films:
Scenes That Love:
Songs of the Day:
- Giorgio Moroder
- Giorgio Moroder Again
- Soundgarden
- Erich Wolfgang Korngold
- Wendy Carlos and Rachel Elkind
- UNT One O’Clock Lab Band
- ZZ Top
Music Videos of the Day:
Artworks of the Day:
AMV of the Day:
Links From Last Week:
- Helena Bonham Carter Checks Out Of “The White Lotus?” Shocking Casting Change As The Show Lands In Cannes!
- You cannot get through a single day without having an impact on the world around you.
News From Last Week:
- Art Dealer Sylvana Lorenz Dies At 72
- Actor Patrick Muldoon Dies At 57
- Production Designer Dean Tavoularis Dies At 93
- Darrell Sheets Dies At 67
- Musician Alan Osmond Dies At 76
- Singer Nedra Talley Dies At 80
- Writer David Wilcock Dies At 53
- Writer Peter J. Carroll Die At 72
- White House Correspondents’ Dinner shooting suspect ID’d, FBI secures his California home
Links From The Site:
- Arleigh reviewed Chef and May I Ask One Final Thing!
- Brad reviewed Police Story, The Mob, Chino, Speak No Evil, Stranger On Horseback, and The Cops Are Robbers!
- Jeff reviewed On The Edge, Snake River Desperadoes, Cadence, Honor Amongst Men, White Ghost, Gentlemen with Guns, and Warrior Strong!
- I reviewed Target Earth!
- I paid tribute to Patrick Muldoon!
Guilty Pleasure No. 112: Food Wars! (Shokugeki no Soma)

Food Wars is one of those anime that feels like it should be ridiculous on paper, but somehow turns that absurdity into part of its charm. Across its five seasons, it blends intense cooking battles, over-the-top reactions, and shameless fan service into a series that is equal parts culinary hype machine and anime guilty pleasure.
What makes Food Wars stand out right away is how seriously it treats food while never taking itself too seriously as a show. The cooking scenes are loaded with detail, and the anime clearly loves showing off the textures, colors, and techniques behind every dish. Even when the plot gets wild, the series keeps circling back to a genuine appreciation for cooking, competition, and creativity, which gives it more heart than you might expect from an anime known for clothes literally exploding off people after a good bite.
Anyone who has grown up watching the high-octane drama of Iron Chef—whether the original Japanese production or the iconic American version on The Food Network—will feel right at home with the structure of this show. Much like those classic programs, Food Wars relies on a foundation of thematic ingredient requirements, ticking clocks, and an intense panel of judges waiting to dissect every flavor. The “Shokugeki” battles, or culinary duels, capture that same competitive spirit where a single secret ingredient or a daring last-minute pivot can be the difference between legendary status and total failure.
One of the most defining aspects of the series is how it effectively gamifies the entire culinary experience, turning every kitchen session into a high-stakes arena. The show treats cooking like a complex strategy game where each ingredient choice acts as a tactical move and every technique serves as a power-up. This framing forces the audience to view food not just as sustenance, but as a weapon or a defense, making the act of creation feel as tense and strategic as a combat sequence in any traditional action series.
This competitive spirit extends directly into the tasting sequences, which are arguably the most iconic parts of the entire five-season run. When a judge takes a bite, the show transforms the experience into a sensory battleground where the flavors represent different forces, emotions, or even elemental powers that clash on the palate. By turning flavor profiles into visual and psychological challenges, the show ensures that tasting isn’t just about appreciation—it is a judgment call that defines the character’s growth, pride, and survival in the cutthroat atmosphere of Totsuki Academy.
At the center of it all is Souma Yukihira, a protagonist who is easy to root for because he is confident without feeling smug. He is the kind of main character who thrives on pressure, and the show uses him well as an engine for momentum. Every challenge becomes a chance to watch him improvise, adapt, and push himself in a way that keeps the series moving fast. He is not some brooding genius or chosen one; he is just a stubborn, talented cook who wants to prove himself, and that makes the whole competition structure more fun.
The supporting cast is a big reason the anime works as well as it does. Erina starts off as icy and intimidating, but the series gradually gives her more depth, letting her grow beyond the “judge with a famous tongue” gimmick into someone with real emotional weight. The Polar Star Dorm crew adds a lot of personality and warmth, giving the story a sense of community that balances out the cutthroat tournament energy. Even when the show leans into exaggerated comedy, the characters usually feel distinct enough that their rivalries and friendships stay entertaining.
One of the show’s biggest selling points is obviously the fan service, and Food Wars does not pretend otherwise. It uses exaggerated reactions, dramatic body language, and suggestive imagery as a kind of visual shorthand for how amazing the food tastes. That approach is part joke, part spectacle, and part stylistic identity. For some viewers, that is the whole appeal; for others, it is the thing that makes the anime hard to recommend without a warning label. Still, the series is self-aware enough that the fan service feels tied to its outrageous personality rather than just being randomly thrown in.
The first season probably captures the show’s identity best because it still has that fresh mix of school-life fun, cooking creativity, and escalating rivalry. The early arcs feel energetic and focused, with each battle building on the last and giving the cast room to establish who they are. As the series moves forward, it gets more dramatic and more tournament-heavy, which is both a strength and a weakness. On one hand, the stakes rise and the clashes feel bigger; on the other, the show can start to feel like it is repeating its own formula with just enough variation to keep going.
By the middle seasons, Food Wars becomes more polished in some ways and more excessive in others. The food presentation remains impressive, and the battles often feel like mini sports dramas, but the storytelling starts to lean harder into anime logic, rival schools, overblown power scaling, and increasingly ridiculous cooking showdowns. That is not necessarily a bad thing, because the whole series is built on heightened reality, but it does mean the emotional impact depends a lot on whether you are fully onboard with the show’s specific brand of chaos.
The final season is where opinions tend to split the hardest. Some viewers feel it loses the magic and becomes more generic battle shounen than cooking anime, while others still see it as a satisfying enough conclusion that keeps the core spirit alive. There are still character moments worth caring about, especially around Souma and Erina, and the show does try to give the story a proper sense of closure. Even so, it is hard to ignore that the later stretch does not hit the same high point as the earlier seasons, especially when the novelty of the format starts wearing thin.
What keeps Food Wars from collapsing under its own absurdity is that it genuinely understands the appeal of competition. The anime is about food, yes, but it is also about pride, craft, ambition, and the need to prove yourself through skill. That gives it a surprisingly strong backbone underneath all the comedy and fan service. When it is working at its best, the show makes cooking feel like a high-stakes art form, where one meal can define a relationship, a reputation, or a future.
In the end, Food Wars is the kind of anime you watch because you want something loud, stylish, and a little indecent, but you stay because it actually cares about the process of cooking and the people doing it. It is messy, exaggerated, and sometimes way too horny for its own good, but that is also why it sticks in your memory. Across five seasons, it delivers a strange but effective mix of genuine culinary admiration and total anime nonsense, and that combination is exactly what makes it such a recognizable cult favorite.
Previous Guilty Pleasures
- Half-Baked
- Save The Last Dance
- Every Rose Has Its Thorns
- The Jeremy Kyle Show
- Invasion USA
- The Golden Child
- Final Destination 2
- Paparazzi
- The Principal
- The Substitute
- Terror In The Family
- Pandorum
- Lambada
- Fear
- Cocktail
- Keep Off The Grass
- Girls, Girls, Girls
- Class
- Tart
- King Kong vs. Godzilla
- Hawk the Slayer
- Battle Beyond the Stars
- Meridian
- Walk of Shame
- From Justin To Kelly
- Project Greenlight
- Sex Decoy: Love Stings
- Swimfan
- On the Line
- Wolfen
- Hail Caesar!
- It’s So Cold In The D
- In the Mix
- Healed By Grace
- Valley of the Dolls
- The Legend of Billie Jean
- Death Wish
- Shipping Wars
- Ghost Whisperer
- Parking Wars
- The Dead Are After Me
- Harper’s Island
- The Resurrection of Gavin Stone
- Paranormal State
- Utopia
- Bar Rescue
- The Powers of Matthew Star
- Spiker
- Heavenly Bodies
- Maid in Manhattan
- Rage and Honor
- Saved By The Bell 3. 21 “No Hope With Dope”
- Happy Gilmore
- Solarbabies
- The Dawn of Correction
- Once You Understand
- The Voyeurs
- Robot Jox
- Teen Wolf
- The Running Man
- Double Dragon
- Backtrack
- Julie and Jack
- Karate Warrior
- Invaders From Mars
- Cloverfield
- Aerobicide
- Blood Harvest
- Shocking Dark
- Face The Truth
- Submerged
- The Canyons
- Days of Thunder
- Van Helsing
- The Night Comes for Us
- Code of Silence
- Captain Ron
- Armageddon
- Kate’s Secret
- Point Break
- The Replacements
- The Shadow
- Meteor
- Last Action Hero
- Attack of the Killer Tomatoes
- The Horror at 37,000 Feet
- The ‘Burbs
- Lifeforce
- Highschool of the Dead
- Ice Station Zebra
- No One Lives
- Brewster’s Millions
- Porky’s
- Revenge of the Nerds
- The Delta Force
- The Hidden
- Roller Boogie
- Raw Deal
- Death Merchant Series
- Ski Patrol
- The Executioner Series
- The Destroyer Series
- Private Teacher
- The Parker Series
- Ramba
- The Troubles of Janice
- Ironwood
- Interspecies Reviewers
- SST — Death Flight
- Undercover Brother
- Out for Justice
Happy 63rd Birthday to Jet Li!

Back in the late 90’s, I remember seeing the trailer for LETHAL WEAPON 4 that shouted out Jet Li. As a person who was just starting to get into Hong Kong cinema, I thought he was absolutely incredible and the best thing about the movie. I was soon watching all of his Hong Kong films and having a ball! The American market loved Jet Li, and used him often in movies like ROMEO MUST DIE and THE EXPENDABLES franchise, but he never reached the quality of his best Hong Kong films like ONCE UPON A TIME IN CHINA and FONG SAI-YUK.
Happy Birthday, Jet! You’re one of the all time greats!
On The Edge (2002, directed by Fred Williamson)
When a high school basketball player named Willie Joe Harris (Derrick Franklin) gets in some trouble with some local drug dealers, he goes to Dakota Smith (Fred Williamson), an ex-cop and private investigator who now spends his time golfing. Realizing that the old neighborhood has been taken over by drug dealers like Slim Jim (Ice-T), Dakota and his friends come together to take back the streets. Jim Brown is former football coach Chad Grant. Ron O’Neal is Willie Joe’s guardian, Frank. Bernie Casey is Rex Stevens, whose family was killed by hitmen looking for Willie Joe. Together, they’re on the edge. They’re not alone on the edge, though. A manic Gary Busey plays a hitman named Felix. Gloria Allred (!) plays Councilwoman Gloria Johnson, Dakota’s contact at city hall.
Fred Williamson directed On The Edge and, in tradition of Original Gangstas, the main appeal of the film is to see a bunch of former blaxploitation stars showing off that they could still own the screen. Our stars may not move as quickly as they used to but they’re still good shots, they’re still good with a quip, and the ladies still love Fred. The film also has an anti-drug “take care of your community” message but most people will just be watching to see Fred Williamson and Jim Brown doing their thing. (The film’s cover art might feature Ice-T front-and-center but this is a Fred Williamson film all the way.)
The film itself isn’t great. Sometimes, it was impossible to make out what the characters were saying and the scene with Gloria Allred mostly seemed to be there so that Fred could say that he knew Gloria Allred. But the combination of Williamson, Casey. O’Neal, and Brown still carried a punch. Say what you will about his films, few people were more confident on screen than Fred Williamson.
Retro Television Review: Homicide: Life On The Street 5.7 “The Heart of a Saturday Night”
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.
This week, Whit Stillman directs a story of pain and tragedy.
Episode 5.7 “The Heart of a Saturday Night”
(Dir by Whit Stillman, originally aired on November 15th, 1995)
The Heart of a Saturday Night is a great episode of Homicide, with the exception of one decision that annoyed the Hell out of me.
It’s an experimental episode. We watch as the Homicide detectives work three cases — a carjacking the results in the death of a wife and mother, a bar fight at the Waterfront that results in the death of an alcoholic husband, and the assault and murder of a young woman in East Baltimore. While Bayliss, Giardello, Munch, and Lewis investigate the cases, we see the survivors at a group therapy meeting. Rosanna Arquette plays the widow of the man killed in the bar fight. The great Chris Eigeman is the widower of the carjacking victim. Polly Holliday and Tom Quinn play the parents of the murdered woman.
It’s a bit stagey and talky but it works, largely due to the performances of the guest cast and the intelligent direction of Whit Stillman. As anyone who has seen any of his films can attest, Stillman is unusually skilled at making conversation compelling. It’s a powerful episode because it reminds us that while the Homicide detectives are just doing their job, the cases they investigate leave lasting scars on those left behind. Munch is more concerned with the murder at his bar than the carjacking to which he and Lewis have been assigned but Giardello explains that Munch cannot investigate a crime that occurred at a location that he owns. Giardello investigated the murder at the bar and one gets the feeling that he largely just wants to get out of the office. Lewis becomes obsessed with solving the carjacking but we all know eventually he’ll move on because that’s his job. There’s always going to be another murder. But for the victim’s husband, life is never going to be the same again. He’s angry and bitter, especially since he knows the carjackers will probably never be caught. (At the end of the episode, his wife’s name is the only one still in red on the board,) His words aren’t always pleasant but he has every right to be angry. Chris Eigeman’s performance is incredible and heart-breaking. Even more so than the effective but overwrought Bop Gun, this episode captured the pain of being a survivor.
It’s a powerful episode, up until the the moment that the final member of the therapy group shows up and it turns out to be Dr. Cox. As good as Michelle Forbes has been in the role, this is the third episode-in-a-row in which Cox suddenly takes center stage. It’s hard not to feel that the show is demanding that we love Dr. Cox as much as the writers obviously do. The problem is that this is only Dr. Cox’s third episode. The constant spotlight on Cox feels hamfisted and a bit premature. It reminds me of when The Office tried to make us embrace characters like Robert California and Nellie Bertram. (This is probably the only time in history that The Office and Homicide will ever be compared to each other.)
Other than the awkward inclusion of Dr. Cox at the end, this was a powerful episode. Homicide took a risk and, for the most part, it paid off.
Brad revisits the Hong Kong classic POLICE STORY (1985), starring Jackie Chan!

I knew who Jackie Chan was well before I discovered Hong Kong cinema in the early 90’s through the works of John Woo and Chow Yun-Fat. I had seen him in the CANNONBALL RUN movies, including part 2 in the movie theater, and I recognized the VHS for THE PROTECTOR (1985) at my local video store, but I had no idea just how amazing he was as a filmmaker and performer until I became obsessed with Hong Kong’s local film industry in the mid-90’s. As I read about the incredible work that Chan had done or was doing in books like “Hong Kong Babylon,” I made notes on all of his movies that I wanted to see. Of course, the original POLICE STORY was at the top of the list.
In POLICE STORY, Chan plays Hong Kong cop Chan Ka-Kui. In the film’s opening scene, he takes part in a sting operation to bring down Chu (Yuen Chor), one of Hong’s major drug kingpins. After the plan goes awry, we get an incredible action sequence where cars crash through a shantytown, bullets fly, cops piss themselves, Chan hangs off of a bus with the handle of an umbrella, runs down a mountain, arrests the drug lord, and we’re just getting started!
From that amazing opening, Chan is assigned to protect the key witness, Salina (the gorgeous Brigitte Lin), whose testimony is key to bringing Chu down. This doesn’t go well. Between corruption in the police force, false accusations, and Chan’s tenuous relationship with his girlfriend May (Maggie Cheung), the ensuing chaos seems to indicate that Chu is going to get off on the drug charges and Chan just may end up dead.
But let’s be honest, the plot is just a reason to get to the action. And once you’ve seen a few of Jackie Chan’s Hong Kong movies, you just settle in for a loose story, lots of goofy humor (that doesn’t always work), and some of the most insane stunt work you’ll ever see. POLICE STORY is a perfect example of that formula, and quite honestly, it’s one of the great action films. The stunts feel and look dangerous. The final sequence, set in a shopping mall, is some of the best action I’ve ever seen in a movie. I sat there with my mouth open and shaking my head as great stunt after grunt stunt takes place. I can’t help but wonder how many people got injured doing those scenes as glass shatters, bodies fly, and Chan puts himself through hell for the sake of the scene. It can’t be described… it needs to be experienced.
And yet, for all the amazing action, I can relate to Jackie Chan. He messes up. He gets hurt. He argues with his girlfriend. I’ve done all of these things, and I love it when he gets his stuff together and uses his unique set of skills to save the day!
As awesome as POLICE STORY is, viewers need to be aware of the serious tonal shifts that take place in the Hong Kong cinema of the 80’s. It can be a little jarring if you’re not used to it, as the movie goes from slapstick comedy to brutal action to melodrama, sometimes within the same scene. In some ways, that’s part of the charm, but these films can feel very strange for the uninitiated.
At the end of the day POLICE STORY isn’t perfect, but it is Jackie Chan at his best… fearless, inventive, and committed to giving the audience their money’s worth. If you’re interested in the unique and dangerous films that Chan made at this physical peak, this is as good as it gets.
POLICE STORY is currently streaming on HBOMAX.
Song of the Day: Irena’s Theme by Giorgio Moroder
Happy birthday to musician and composer Giorgio Moroder. Today’s song of the day comes from his score for 1982’s Cat People. Here is Irena’s Theme!



