As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, for #ScarySocial, I will be hosting 1977’s Planet of Dinosaurs!
If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag! The film is available on Prime and Tubi! I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well. It’s a friendly group and welcoming of newcomers so don’t be shy!
Planet of the Dinosaurs (1978, dir by James Shea, DP: Henning Schellerup)
It’s funny how just the first few notes of “Make It Last Forever” can take you straight back to those smoky gymnasiums where the lights were dim, the disco ball spun slow, and everyone pretended not to care who asked who to dance. Keith Sweat’s voice had that raw, pleading edge — smooth but vulnerable — the kind that cut right through all the teenage coolness. This track wasn’t just background music; it was the moment when couples swayed a little closer, trying to hang on to a feeling that was bigger than any senior year could hold.
The thing about that late ’80s R&B scene is that it knew how to make time stop. Between Sweat’s silky tone and Jacci McGhee’s soft harmonies, the song felt like a brand-new kind of intimacy. It wasn’t flashy, just honest — the kind of slow jam that made you believe love could actually last forever, at least for the length of that dance. You didn’t need fancy choreography or a booming beat; the groove did all the talking. It was warm, romantic, and a little bittersweet — the perfect soundtrack for that fleeting stretch between youth and adulthood.
Even now, when it plays on an old-school radio mix or at a 40th high school reunion, something in it still hits home. You remember the scent of cheap cologne, the click of high heels on the gym floor, and that mix of nerves and hope that only a slow dance can bring. “Make It Last Forever” wasn’t just a song — it was a promise whispered in the dark, a memory that never quite fades, no matter how many years go by.
Make It Last Forever
Make it last Make it last forever (ever) Don’t let our love end (ooh-ooh, ooh-ooh-ooh-oh) Let’s make it last (ooh-ooh-ooh-oh) Let’s make it last forever and ever Mm, don’t let our love end (oh, don’t let love end) mm
Let me hear you tell me you love me Let me hear you say you’ll never leave me Ooh, girl, that would make me feel so right Let me hear you tell me you want me Let me hear you say you’ll never leave me, baby Until the morning light (ah)
Let me tell you how much I love you Let me tell you that I really need you Baby, baby, baby, I will make it all right No one but you, baby, can make me feel The way you make me, make me, make me feel
Whoa, oh-oh-oh Mm, mm, mm Don’t let our love end (oh, ooh-oh) Just make it last forever (oh, make it last) and ever (forever)
Your touch is wonderful Your love is so marvelous Joy, that’s what I feel when I’m with you Nothing, no one (no one, boy) Could compare to what we have (oh, my baby) Love, it feels so good I’m so glad you’re mine (oh, oh)
Whoa, oh-oh-oh (ooh, baby) Make it last forever (ooh, ooh, ooh) Don’t let our love end (no-no, no-no-no) Make it last forever and ever (yeah, yeah)
Ooh, give me kisses (kisses) Love me (love me), hold me (hold me) Squeeze me (squeeze me) Chillin’ (chillin’), come on (come on) I love it (you know I do), baby
Whoa, oh-oh-oh Mm, mm, mm Make it last forever (no-no) and ever (no-no-no) Don’t let our love end (and ever)
Ooh, whoa, oh-oh, oh-oh-oh (no, don’t you let it end) You got to make it last Never, never, never let it end Just make it last forever and ever (ooh-ooh, oh)
I want our love to last a lifetime (I’d give it up, give it up for you) Ooh, tell me, tell me you’ll always be mine (I love you, love you, love you, love you, love you) To make love forever and ever (ooh-ooh) We’ve got to make it last Got to make it, got to make it, got to make it, got to make it Oh, baby, oh, honey (oh, honey) I love you (ooh, oh, oh, I love you)
Ooh, you’re my best thing in the world (oh) The only thing in the world, I love you so
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Freddy’s Nightmares, a horror anthology show which ran in syndication from 1988 to 1990. The entire series can be found on Tubi!
This week, we begin the second season! Welcome back to Springwood!
Season 2.1 “Dream Come True”
(Dir by George Kaczender, originally aired on October 8th, 1989)
The second season of Freddy’s Nightmares features Freddy getting involved in the action.
The first story features Freddy haunting the nightmares of teenager Randy Jennings (David Kaufman), who has only recently moved to Springwood with his mother, Cathy (Linda Miller). Randy is having nightmares about Freddy so his mother buys tickets to attend a talk show hosted by Stan Brooks (Jay Thomas). Stan’s guest is therapist Dr. Brandon Kefler (Scott Marlowe), who has written a book about nightmares. Cathy begs Brandon to see Randy and, after being pressured by Stan, Brandon agrees. Stan arranges for cameraman Garry Heath (Gerard Prendergrast) to film the session.
At the Jennings home, Brandon talks to Randy about his nightmares. Brandon’s therapy seems to work as, afterwards, Randy is able to sleep peacefully and without having any nightmares. However, it turns out that Freddy just jumped from Randy’s mind to Brandon’s! (Hey, didn’t almost the same thing happen in a movie, something about an exorcism….) Soon, Brandon is the one who is having nightmares and being driven mad by visions….
As for the second story, it deals with Garry the cameraman and his belief that Freddy Kruger is real. One reason why Garry believes that Freddy is real is because Freddy keeps showing up in footage that he’s filmed. Unfortunately, no one else can see Freddy, certainly not Garry’s boss (Charles Cyphers). Even more unfortunately, the body of Garry’s girlfriend is found in a dumpster and the police aren’t buying Garry’s story that Freddy did it….
This episode actually wasn’t that bad, especially compared to some of the episodes that aired during the show’s first season. Perhaps it’s because this episode was the first of the season and the production budget hadn’t gone dry yet but Dream Come True actually features some adequate production values. The house looks like a real house. The television studio looks like a place where something would actually be filmed. The abandoned warehouse with Garry tries to confront Freddy is actually an atmospheric location and the episode even manages to generate a little suspense, even if neither plot is particularly original. Both Scott Marlowe and Gerard Pendergrast give decent performances in their stories and, as always, Robert Englund is a properly evil Freddy.
(That said, the show did manage to misspell Charles Cyphers’s name in the opening credits, despite the fact that he was this episode’s big guest star. I did a double take when I saw “Charles Syphers,” on my screen. Seriously, the man was Sherriff Brackett!)
Despite getting Charles Cypher’s name wrong, this was still a good start to the final season. It’ll be interesting to see if the remaining episodes live up to it.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988. The show can be found on Daily Motion.
I miss when this show on Hulu and available to rent on Prime. The Daily Motion uploads are not the best (especially where sound quality is concerned) but, for now at least, that’s what I’m having to go with.
Episode 3.8 “Sweet Dreams”
(Dir by Mark Tinker, originally aired on November 14th, 1984)
This week’s episode was all about sleep and the dreams that might come with sleep.
Westphall, as usual, gets the most depressing storyline. He can’t sleep. He has insomnia. Of course, he does. Anything depressing that doesn’t happen to Dr. Morrison will inevitably happen to Dr. Westphall instead.
Dr. Craig tries to figure out why one of his patients died in his sleep with a terrified look on his face. Can a nightmare cause someone to have a heart attack?
Dr. Cavanero diagnoses a man with sleep apnea.
Meanwhile, we get a peek at the dreams of three members of the St. Elsewhere staff.
Luther dreams of being kicked out of the hospital by two security guards. Fortunately, ZZ Top is standing outside of the hospital and they order three women to kidnap Luther in a big red car and turn him into a sharp-dressed man. Luther and his new friends invade the hospital, toss out the security guards, and invite Warren Coolidge to come hang out with them. ZZ Top performs Legs, which seems odd since the song is about a woman who has legs and knows how to use them but Luther is the one getting the makeover. Well, whatever. It’s a cute dream and a nice break from Dr. Westphall looking depressed.
Both Victor and Jack agree to take part in a sleep study. Victor is yanked out of the study by Dr. Craig but, before that happens, we do get to see Victor’s dream of washing up on an island that is ruled by Amazons.
As for Jack Morrison’s recurring dream, it’s just about as dark as you would expect when it comes to the only character who has suffered more heartache than Dr. Westphall. In Morrison’s dream, he finds himself wandering around the deserted hospital. He hears someone playing Led Zeppelin in the morgue. He goes down there and discovers Peter White waiting for him.
Morrison and White speak. Even in death, White is whiny and defensive. Morrison repeatedly asks whether or not White was the ski mask rapist and, every time, White refuses to give a direct answer. However, when Morrison is about to leave the morgue, White is suddenly wearing a blue ski mask. Morrison wakes up from each dream with a jolt, terrified to face the truth about the man who he defended against his better judgment.
(I have to admit that, if I was a nurse or a doctor at St. Eligius, I would have mixed feelings about Morrison. Yes, he seems to be well-meaning and he’s suffered his share of tragedy. But the fact that he continued to be a friend — albeit with a certain ambivalence — to Dr. White would make me very uncomfortable. I know that Morrison would probably point out that Dr. White was acquitted but everyone at the hospital knew he was guilty. Everyone but Morrison, apparently.)
This was a good episode and a bit of a reset after all the drama of the Peter White storyline. Well-directed, well-acted, and very atmospheric, this was St. Elsewhere at its best.
4 Shots From 4 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!
Today, on what would have been his 94th birthday, TSL pays tribute to the great Francois Truffaut. No one captured the act of falling in love in life, people, and cinema with the skill, sensitivity, and humor of Francois Truffaut. It’s time for….
4 Shots From 4 Francois Truffaut Films
Shoot the Piano Player (1960, dir by Francois Truffaut, DP: Raoul Coutard)
Fahrenheit 451 (1966, dir by François Truffaut, DP: Nicolas Roeg)
Day For Night (1973, dir by François Truffaut, DP: Pierre-William Glenn)
The Story of Adele H. (1975, dir by Francois Truffaut, DP: Nestor Almendros)
When “My, My, My” first floated across the airwaves in 1990, it felt like smooth perfection — the kind of song that made time slow down just a little. Johnny Gill’s voice carried that deep, unmistakable mix of confidence and tenderness that defined R&B at its best. It was the slow jam every prom DJ had queued up, waiting for the lights to dim and for couples to drift onto the floor. For anyone in high school back then, this was the dance moment — the one you replayed in your head for days afterward.
But what made it special was how it lived beyond those prom nights. This was one of those early-’90s R&B staples that found its way onto countless mixtapes — the kind carefully labeled and slipped into someone’s hand with a hopeful grin. It was the soundtrack of summer romances, of those shy exchanges that felt like the beginning of forever. With Gill’s velvet delivery and that lush Babyface-L.A. Reid production, even teenage crushes suddenly felt legendary.
And honestly, let’s be real — you don’t even need to take my word for it. Just one listen to Johnny’s sweet, dulcet tones and you know this was the kind of track that did more than inspire slow dancing. It’s baby-making music, through and through — smooth, soulful, and absolutely irresistible.
My, My, My
Yeah Mmmh, mmh, mmmh, so good
My, My, My (you look so sweet) Listen Put on your red dress And slip on your high heels And some of that sweet perfume It sure smells good on you
Slide on your lipstick and Let all your hair down Cause Baby when you get through I’m going to show you
Tonight will be a special night No matter where we go And I’m so proud to be with you I just wanna let you know
You got my saying My, My, My My, My, My You sure look good tonight And you’re so damn fine I wanna say My, My, My My, My, My
You sure look good tonight
After all this time Slip on your nightgown Step in our bedroom First I wanna take sometime
I just wanna look at you Girl you are so fine I can’t believe you’re mine And all that I wanna do
I wanna make love to you Tonight will be a special night Of many more to come
And I’m so proud to be with you So proud to share you’re love
My, My, My My, My, My (You sure look good tonight) I wanna say, My, My, My My, My, My My, My, My
Make love all night long Make love ’til the break of dawn
Come on Come on Sweet little thing yes you do
Yes you do, yes you do, you do, do, do
And I’m so proud to be with you So proud to share you’re love My, My, My My, My, My You sure look good tonight
I wanna love you, in every way, every way Let me Let me Show you how sweet it’s gonna be I wanna show you things that you
Never, ever, ever seen before Put your nightgown on Let your hair hang low Step into our room I’m in the mood to love you all night long
You got me saying My, My, My My, My, My My, My, My My, My, My My, My, My My, My, My My, My, My
Say My, My, My See all you gotta do All you gotta do Is say that you’ll be mine all mine, My, My, My My, My, My (You’ll be all mine tonight baby) You sure look good tonight Let me, let me, show you how sweet it’s gonna be
Oh, My, My, My My, My, My (You sure look good tonight) My, My, My My, My, My My, My, My (You sure look good tonight) My, My, My My, My, My (You sure look good tonight) My, My, My
As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties. On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday. On Mastodon, I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1988’s Cherry 2000
If you want to join us this Friday, just hop onto twitter, find Cherry 2000 on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there happily tweeting. It’s a friendly group and welcoming of newcomers so don’t be shy.
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989. The entire show is currently streaming on Tubi and several other services!
This week, Jonathan and Mark are once again teaching high school.
Episode 5.6 “The Source”
(Dir by Michael Landon, originally aired on June 9th, 1989)
This week, Jonathan and Mark are back in high school …. again!
This time, Mark is teaching sex ed. (Ha ha, the Boss sure does love embarrassing Mark!) Meanwhile, Jonathan is the faculty advisor to the school newspaper. When a school bus crashes, two enterprising student journalists — Doug (Scott Fults) and Colin (Andy Lauer) — decide that they’re going to get to the bottom of what happened. All the evidence shows that it was just a freak accident and that bus driver Larry Nichols (Dack Rambo) is not to blame. However, a student on the bus named Ellen (Kim Walker) tells Doug and Colin that, before the crash, Larry was flirting with her and not watching the road. After Doug and Colin agree to protect Ellen’s identity, they write a story about Larry, the adult bus driver who was too busy flirting with an underage girl to take that curve.
Doug and Colin think that they’re going to win a Pulitzer but Jonathan says, “Hold on, we can’t publish this!” However, the school’s principal (Alan Fudge) disagrees because Colin just happens to be his son. The story is published and Larry loses his job. Doug and Colin are feeling pretty proud of themselves but then they just happen to come across Ellen’s notebook in the school’s copy room. (Jonathan, using “the Stuff,” switched out his notebook for Ellen’s.) Doug and Colin read the notebook and discover that Ellen has a crush on Larry and that Ellen lied about him flirting with her.
Doug and Colin retract the story and learn a lesson about journalistic responsibility. Ellen, even though Colin and Doug continue to protect her identity, leaves with Jonathan so that she can apologize to Larry face-to-face. (We don’t actually see the apology. I have a feeling that it probably didn’t go well.) As the episode ends, two women look at the newspaper and agree that, retraction or no retraction, Larry was definitely guilty. We then hear Jonathan’s voice telling us that the first amendment is too important to be abused.
That’s an important message and a timely one. Watching this episode, it was hard not to consider that, for the past few weeks, people in this country have been arguing about whether or not the first amendment applies more to a self-employed YouTuber who stormed a church service or the people in the church who were worshipping at the time. There’s a lot of earnest sincerity to be found in this episode of Highway to Heaven but, that said, the execution is pretty heavy-handed. Even by the standards of this show, there’s not much subtlety to be found here.
An even bigger problem is that this episode can’t seem to decide whether Ellen is meant to be a shy teenager who made a mistake or a full-blown sociopath. I think this episode would have worked better if Colin and Doug heard rumors that they reported as fact as opposed to Ellen just flat-out lying to them. Once Ellen lies, it’s hard not to feel that the focus should be less on Colin and Doug learning a lesson and more on Ellen getting some sort of psychiatric help.
This episode was typical of season 5. It was sincere but just a bit too on-the-nose.
Through the Shattered Lens 