Retro Television Review: Homicide: Life On The Street 5.20 “Narcissus”


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’s episode was written by none other than Yaphet Kotto!

Episode 5.20 “Narcissus”

(Dir by Jean de Segonzac, originally aired on May 2nd, 1997)

A shooting at four in the morning leads to a group of white patrolmen chasing a black suspect across West Baltimore until he ducks into a building that they’ve been told not to enter.  The building is the headquarters of the African Revival Moment, a militant group that is led by a former cop who goes by the name of Burundi Robinson (Roger Robinson).  Robinson is one of the most powerful men in West Baltimore, a hero to the community and also someone who has connections to Baltimore’s police commissioner, James Harris.

As Robinson explains to Lt. Giardello, he and Harris were once partners.  When he and Harris busted a heroin dealer, Harris sold the drugs back to the dealer for $10,000.  When it was discovered that the drugs were missing from the evidence lock-up, Harris and Robinson flipped a coin with the understanding that the loser would resign from the force and take the fall.  Robinson lost the coin toss.  Robinson went on to start ARM and Harris became the police commissioner.

At first, Harris (who doesn’t appear in this episode but instead is simply a background figure of menace) protects Robinson and sends Col. Barnfather to the scene to order Detectives Pembleton and Munch to back off.  However, when a member of ARM comes forward to say that Robinson ordered the shooting because the victim was going to expose Robinson’s history of taking sexual improprieties with his followers, Harris suddenly starts ordering the police to get more aggressive with Robinson and ARM.  Harris does this with the full knowledge that the police raiding ARM headquarters and attempting to arrest Robinson will lead to a violent confrontation.  When the police eventually do bust into the headquarters, they discover that Robinson and all of his followers have committed suicide.  Giardello understands that was Harris’s hope all along.  He was willing to risk a riot just to silence the one man who could prove his corruption.

This episode was written by Yaphet Kotto and, not surprisingly, Giardello is at the center of the action.  The lengthy scene where he meets with Robinson is the highlight of the episode as both Giardello and Robinson have a unique understanding of how things work in Baltimore.  Giardello has had first-hand experience with Harris’s corruption and he’s not in the least bit surprised by either Robinson’s story or Harris’s heavy-handed attempts to control the investigation.  In a bit of wonderful irony, when Harris initially tries to protect the African Revival Moment, he uses the racist Captain Gaffney to interfere with Munch and Pembleton’s investigation.  Gaffney, one of the most loathsome characters on the show, is suddenly the one who is telling a suspect to demand a lawyer and leaking the name of the informant to Robinson.

This episode was a strong one all the way around, with Kotto, Andre Braugher, and Roger Robinson all playing proud men who each had their own unique view on how to best deal with the issue of race in Baltimore.  (One thing that sets Homicide apart from so many other shows is not just the diversity of the cast but also the diversity of personalities and opinions.)  The ending carries a punch.  When Giardello says that there will be Hell to pay, you believe him.

Scenes That I Love: Sam Elliott and Patrick Swayze in Road House


Today, the Shattered Lens wishes a happy birthday to Sam Elliott.  In this scene from the classic film Road House, Sam Elliott and Patrick Swayze have a heart-t0-heart.  Swayze’s Dalton has a past that can only be understood by Sam Elliott’s Wade Garrett.

Take it away, mijo.

4 Shots From 4 Films: Special Robert Aldrich Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

On this date, 108 years ago, Robert Aldrich was born in Cranston, Rhode Island.  The first cousin of New York Governor and Vice President Nelson Rockefeller, Robert Aldrich eschewed business and politics to pursue a career in film.  Though his wonderfully melodramatic films were often undervalued when first released, Aldrich is now seen as one of the most influential filmmakers of all time.  Tarantino loves him.

In honor of Aldrich’s career and legacy, here are….

4 Shots From 4 Robert Aldrich Films

Kiss Me Deadly (1955, dir by Robert Aldrich, DP: Ernest Laszlo)

What Ever Happened To Baby Jane? (1962, dir by Robert Aldrich, DP: Ernest Haller)

The Dirty Dozen (1967, dir by Robert Aldrich, DP: Edward Scaife)

Hustle (1975, dir by Robert Aldrich, DP: Joseph Biroc)

Music Video of the Day: Kiss and Tell by Bryan Ferry (1988, directed by ????)


This is one of two videos for Kiss and Tell.  Both videos features Ferry performing the song while model Mandy Smith and Christine Keeler pose for the camera.  (Smith was the wife of Rolling Stone Bill Wyman while Christine Keeler was at the center of the Profumo Affair, which brought down Harold Macmillan’s government in 1963.)  However, the second version of the video also featured scenes from the film adaptation of Jay McInerney’s Bright Lights, Big City.

As can be seen in the video, Michael J. Fox played the cocaine-addled main character in the film.  It was a largely unsuccessful attempt to change Fox’s clean-cut image and the film struggled at the box office.  However, both the song and and the video proved to be very popular on MTV.  The video was nominated for Best Video From A Film at the MTV Video Music Awards, though it lost to Los Lobos’s video for La Bamba.

Enjoy!

Late Night Retro Television Review: Saved By The Bell 2.13 “From Nurse To Worse”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Saturdays, I will be reviewing Saved By The Bell, which ran on NBC from 1989 to 1993.  The entire show is currently streaming on Tubi!

Kelly wants to go steady but Zack’s fallen in love with the new school nurse.

Episode 2.13 “From Nurse To Worse”

(Dir by Don Barnhart, originally aired on December 15th, 1990)

Zack has asked Kelly to go steady but, when Kelly finally tells him that the answer is yes, Zack smiles stupidly and says, “That’s great, what was the question?” before wandering off.  Zack has met the new school nurse, Nurse Jennifer (Nancy Valen), and is so busy imagining a future with her that he’s totally forgotten about the fact that he’s supposedly been in love with Kelly for years.

When people talk about Zack Morris being “trash,” this is the type of episode that they’re thinking about.  Zack treats Kelly horribly, all because he’s convinced that new school nurse is going to risk her job by dating a 10th grader.  Of course, Nurse Jennifer doesn’t help by telling him that he’s cute.  When Jennifer finds out about Zack and Kelly, she helps Kelly out by pretending to be crazy.  It perhaps would have been simpler for Jennifer to just tell Zack that it would have been illegal for her to have dated him but then we wouldn’t have gotten the sight of Jennifer pretending to be terrible at her job.

As was typical of Saved By The Bell, Slater’s B-story was actually more interesting than all of Zack’s nonsense.  It’s time for everyone’s flu shot and Slater is scared of needles.  Mario Lopez always did a good job of portraying Slater’s insecurities and there’s something rather endearing about the look of terror on his face when he’s called to the nurse’s office for his shot.

For those of us who are into continuity, this episode was a weird one.  Not only did the new nurse do a lot of stuff that didn’t make sense but the episode itself seems to ignore everything that has happened in Zack and Kelly’s relationship over the past few episodes.  Suddenly, Kelly and Zack are back to dating whether or not to be an exclusive couple.  I thought that had been settled a while ago.  Judging by the episode’s production code, this episode was originally meant to be the second of the season and would have aired right after The Prom episodes.  For whatever reason reason, NBC didn’t air it until late in the season, when it no longer made sense.

Technically, this is the end of season 2.  Whether or not that means anything is debatable because apparently, way back in 1990, season 3 started the very next week.  With Saved By The Bell, one gets the feeling that these things were decided at random.  Well, no matter!  Next week, we’ve got season 3 and The Fabolous Belding Boys!

Lisa Marie’s Week In Television: 8/2/26 — 8/8/26


America 2100 (YouTube)

I reviewed America 2100 here,

Baywatch (Tubi)

You can read my review here!

Big Brother (24/7, CBS, Paramount+, Pluto TV)

You can read my ongoing review of Big Brother here.

Cheaters (Tubi)

Cheaters is on Tubi!  I watched a few episodes on Saturday.  This show is a guilty pleasure for me because 1) it was filmed in Dallas and 2) Joey Greco is just so judgmental!

CHiPs (Prime)

You can read my review of CHiPs here.

Crime Story (Tubi)

You can read my review of Crime Story here.

Diff’rent Strokes (Tubi)

After buying their father a birthday present, Arnold and Kimberly decided to hitchhike home.  They were picked up by a man who locked Arnold in a room and then threatened to rape Kimberly.  This was pretty disturbing for a sitcom!  I watched this two-part episode on Thursday and I was relieved when the police finally showed up to rescue them.

Freddy’s Nightmares (Tubi)

I wrote about the series finale here!

Election Coverage (Tuesday Night)

I was pretty depressed going into this week’s primary elections but I have to admit that watching the results in Michigan cheered me up,  Even though the latest DSA flavor-of-the month, Abdul El-Sayed, won his primary, it was only by one percentage point as opposed to the election being the blow-out that so many predicted.  Not everyone is on board with extremism and I take some hope from that.

On Thursday, I watched as the election results rolled in from Tennessee.  Other than that one congressman that lost his primary, the Tennessee results weren’t quite as exciting as the Michigan results.  I did find myself amused as I remembered how, way back in 2018, some pundits were convinced that Taylor Swift coming out as a Democrat would somehow turn the state blue.

1st & Ten (Prime)

You can read my review here.

Flight of the Conchords (HBOMax)

I watched one episode from the first season (Todd joined the band and things quickly fell apart, despite his skill with the bongos) and one episode from the second season.  (Bret and Jermaine met Murray’s best friend, Jim.)  Both episodes made me laugh.  This is definitely a show that I miss, even if it does seem like Bret and Jermaine probably did everything they could with the concept during the first two seasons.

Hunter (Tubi)

You can read my review here.

The Love Boat (Paramount Plus)

You can read my review here.

Mad TV (Tubi)

Mad TV’s on Tubi now!  I watched two episodes on Thursday and, unfortunately, they were even worse than I remembered.

The Office (Peacock TV)

“THIS WAS THE BEST DUNDIES EVER!  WHOOOOO!”  As much as I complain about the show’s final two seasons, the first three seasons are about as good as anything that has ever aired on television.  On Friday, I watched The Dundies.

Pacific Blue (Tubi)

You can read my review of Pacific Blue here.

Saved By The Bell (Prime)

My review will be dropping shortly.

Saved By The Bell: The New Class (Prime)

You can read my review here!

St. Elsewhere (YouTube)

You can read my review of St. Elsewhere here!

60 Minutes (CBS, Sunday Night)

I caught the last 30 minutes of 60 Minutes on Sunday night.  It’s funny that, for all the acclaim that this show has received and all the current controversy surrounding it, the only time that I have ever watched it has been when I’ve been waiting for something else to start.  It seems like I always end up turning on the show whenever Anderson Cooper is doing one of his “look at my exploring the wilderness!” type of stories.

Survivor 50 (CBS, Wednesday Night)

As I watched this week’s rerun of Survivor 50, it occurred to me that the all of the Survivor icons are starting to get really, really old.  A better name for Survivor 50 would have been Survivor: Seniors’ Retreat.

Retro Music Review: Enter the Wu-Tang (36 Chambers) (by Wu-Tang Clan)


36 Chambers by the Wu-Tang Clan isn’t just an album—it’s a cultural earthquake that reshaped hip-hop forever. Released in 1993, this debut project introduced a raw, unfiltered sound that felt like a direct transmission from the streets of Staten Island to the rest of the world. The album’s title, Enter the Wu-Tang (36 Chambers), hints at its cinematic scope, blending martial arts mythology with the gritty reality of New York City life. From the opening skit to the final fade-out, 36 Chambers is a masterclass in storytelling, lyrical dexterity, and sonic innovation, all wrapped in a haze of dusty samples and hard-hitting beats.

The production on 36 Chambers is a character unto itself. RZA’s beats are lo-fi in the best way possible—gritty, bass-heavy, and layered with samples that feel like they were dug up from a forgotten record crate. Tracks like Bring da Ruckus and Protect Ya Neck kick off with a ferocity that immediately establishes the Wu-Tang Clan as a force to be reckoned with. The beats aren’t polished; they’re rough around the edges, but that rawness is what gives the album its timeless quality. RZA’s use of soul samples, particularly from old kung fu movies and obscure funk records, creates a soundscape that feels both nostalgic and fresh. It’s as if the album is simultaneously paying homage to the past while forging a new path forward.

Lyrically, 36 Chambers is a tour de force. The Wu-Tang Clan’s collective talent is on full display, with each member bringing their own distinct flavor to the table. Method Man’s hypnotic flow on Method Man is a standout, showcasing his ability to weave intricate rhymes with a laid-back yet commanding delivery. Raekwon’s verse on Protect Ya Neck is another highlight, as he effortlessly rides the beat with a mix of bravado and precision. Ghostface Killah’s storytelling on Tearz is both poignant and vivid, painting a picture of struggle and resilience that resonates deeply. Even the lesser-known members of the clan at the time, like Inspectah Deck and U-God, deliver verses that hold their own against the more prominent voices. The chemistry among the group is undeniable, and their ability to trade bars seamlessly makes the album feel like a cohesive unit rather than a collection of solo performances.

What makes 36 Chambers so special is its unpredictability. The album doesn’t follow a traditional structure, with skits and interludes scattered throughout that add to its cinematic feel. Songs like C.R.E.A.M. and Can It Be All So Simpleprovide moments of introspection amidst the chaos, offering a glimpse into the struggles and aspirations of the group’s members. C.R.E.A.M., in particular, is a classic that transcends hip-hop, with its universal themes of money, family, and the pursuit of a better life. Raekwon’s delivery on the track is hauntingly beautiful, and the chorus—“Cash rules everything around me”—has become one of the most iconic lines in rap history.

The influence of 36 Chambers on hip-hop cannot be overstated. Before this album, the rap game was dominated by a more polished, radio-friendly sound. Wu-Tang Clan came in and flipped the script, proving that raw talent and authenticity could resonate just as strongly—if not more so—than a glossy, commercial approach. The album’s success paved the way for a new wave of artists who prioritized lyricism and originality over mainstream appeal. Groups like A Tribe Called Quest and De La Soul had already laid the groundwork for alternative hip-hop, but Wu-Tang Clan took it to another level, inspiring countless artists to embrace their uniqueness and reject industry norms.

Moreover, 36 Chambers helped popularize the concept of the rap collective. The Wu-Tang Clan wasn’t just a group; it was a movement, a family of artists who supported and elevated each other. This model influenced countless other collectives, from the Native Tongues to Odd Future, who saw the value in collaboration and shared creative vision. The album also played a significant role in bringing hip-hop to a global audience, as its universal themes and innovative sound transcended regional boundaries. Fans from all over the world connected with the Wu-Tang Clan’s music, and the group’s influence can be heard in the work of artists from every corner of the globe.

One of the most remarkable things about 36 Chambers is how well it has aged. While many albums from the early ‘90s feel dated in hindsight, this one still sounds fresh and vital. The production holds up, the lyrics remain sharp, and the energy is as infectious as it was over three decades ago. It’s a testament to the Wu-Tang Clan’s vision and execution that 36 Chambers continues to be celebrated as one of the greatest hip-hop albums of all time. The album’s legacy is evident in the countless homages, samples, and references it has inspired in the years since its release. From Kendrick Lamar to J. Cole, modern rap artists continue to draw inspiration from the Wu-Tang Clan’s groundbreaking work.

Beyond its musical contributions, 36 Chambers also had a profound cultural impact. The album’s cover art, featuring the Wu-Tang Clan logo and a collage of images that evoke both martial arts and street life, has become iconic. The group’s aesthetic—rooted in Shaolin philosophy, street wisdom, and a DIY ethos—resonated with a generation of fans who were looking for something real in a world that often felt artificial. Wu-Tang Clan’s authenticity was their superpower, and 36 Chambers was the ultimate expression of that authenticity.

The album’s impact extends beyond music and culture—it also changed the business of hip-hop. The Wu-Tang Clan’s decision to release 36 Chambers independently, without the backing of a major label, was a bold move that paid off handsomely. The album’s success proved that artists could maintain creative control while still achieving commercial success, a lesson that has been taken to heart by countless independent artists in the years since. The Wu-Tang Clan’s model of self-reliance and entrepreneurial spirit has become a blueprint for aspiring musicians looking to carve their own path in the industry.

Revisiting 36 Chambers today, it’s clear that the album’s magic lies in its imperfections. The beats aren’t pristine, the mixing isn’t flawless, and the delivery isn’t always polished—but that’s precisely what makes it so compelling. The album feels alive, like a snapshot of a moment in time when a group of talented, hungry artists came together to create something truly special. It’s an album that demands to be experienced in full, from start to finish, with all its quirks and idiosyncrasies intact.

In the end, 36 Chambers is more than just an album—it’s a movement. It’s a testament to the power of creativity, collaboration, and staying true to oneself. The Wu-Tang Clan didn’t just make music; they created a legacy that continues to inspire and influence new generations of artists and fans. Whether you’re a lifelong hip-hop head or a casual listener, 36 Chambers is an essential listen, a timeless piece of art that captures the essence of what makes rap so powerful. It’s rough, it’s raw, and it’s real—just like the Wu-Tang Clan themselves.

Retro Television Review: Baywatch 2.14 “War of Nerves”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Saturdays, I will be reviewing Baywatch, which ran on NBC and then in syndication from 1989 to 2001.  The entire show can be viewed on Tubi.

This week, some people stand in the darkness, afraid to move into the light.

Episode 2.14 “War of Nerves”

(Dir by Douglas Schwartz, originally aired on February 3rd, 1992)

Drug lord Mason Sato (Cary-Hiroyuki Tagawa) has just gotten out of prison and he wants revenge of Mitch.  For reasons that aren’t really explained beyond a shot of a newspaper headline that reads, “Hero Lifeguard Helps Police Take Down Drug Lord,” Mason blames Mitch for his arrest,  Do lifeguards make arrests?

Mason stalks Mitch, Hobie, and Mitch’s girlfriend, Kaye (Pamela Bach).  At first, Mitch doesn’t tell either Hobie or Kaye what’s going on.  But when Mason asks Hobie to teach him how to use a boogie board, Mitch loses it and punches Mason out.  Mason later kidnaps both Hobie and Kaye.  This leads to a fight in an abandoned warehouse.  Once the fight moves into the ocean, Mason nearly drowns but Mitch saves his life so he can go back to prison.

Meanwhile, Shauni asks Ben to teacher her how to surf.  We never actually see Ben teaching her anything but we do get a lengthy montage as Ben remembers his days as a surfing lifeguard.  Myself, I’m wondering how Ben, who we’ve been told can no longer swim because of a leg injury, suddenly stops limping in this episode.

Cary-Hiroyuki Tagawa was a magnetic villain but otherwise, this was Baywatch at its cheapest.  The plot was by-the-book and it mostly seemed to exist so that Hasselhoff could play the action hero.  This episode felt like a dry run for the first, non-supernatural season of Baywatch Nights.  How many lifelong enemies has Mitch managed to make?

The life of the lifeguard is a dangerous one.