The frontier town of Pecos, Texas is without a marshal and Martin Conroy (Walter Reed) and his men are taking advantage of the situation by forcing people to sell their land for next to nothing. A railroad’s coming and Conroy is looking to make a killing. When landowner Bailey (John Hamilton) is targeted by Conroy, ranch hands Tim Holt (played by Tim Holt) and Rafferty (Richard Martin) are determined to stop him. Federal marshal Terry Moran is summoned to the town to enforce the law. Everyone is shocked when Moran’s daughter — also named Terry (Linda Douglas) — shows up and declares herself the new marshal. “We don’t need no petticoat marshal!” the townspeople cry.
This is a by-the-book B-western, one of many that Tim Holt and Richard Martin made over the years. In this one, neither Holt not Martin seems to be too invested in the familiar story. (Holt was maybe wondering how he went from The Magnificent Ambersons and Treasure of the Sierra Madre to this.) The only really interesting thing about this one is that the marshal is a woman but the movie doesn’t really do anything with the idea. Tim Holt was the star here and no petticoat marshal was going to upstage him.
The thing that I find interesting about these B-westerns is how often the villain was someone looking to get rich by selling ill-gotten land to the railroad companies. B-westerns always presented the railroads as being both the best and the worst thing about the west. The railroads bring and connect civilization but they also attract villains like Martin Conroy. In the American westerns, it was always made clear that the railroad company was as disgusted by men like Conroy as the townspeople. However, in the spaghetti westerns that would come out in the 60s, it was always clear that the railroad didn’t care how they got their land as long as they got it.
This was Tim Holt’s second-to-last movie as a B-western star. After his career ended in Hollywood, Holt relocated to Oklahoma and eventually became the manager of radio station. He died in 1973.
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, Detective Much meets Dr. Cox.
Episode 5.6 “White Lies”
(Dir by Peter Weller, originally aired on November 8th, 1996)
When a suburban housewife is reportedly found dead in bed, Detective Munch suspects that she was murdered by her husband, Phillip Engle (Scott Bryce, of As The World Turns fame). Munch points out that the dead woman was wearing makeup, that Engle’s story is full of holes, and that it doesn’t make sense that a healthy woman’s heart would just stop in the middle of the night. However, Dr. Cox is not convinced that the woman was murdered and, as she puts it, it’s not a murder until the M.E. says it is. Munch finds himself investigating a crime that may or may not have been committed. Ultimately, it turns out that the woman died of a heroin overdose. Philip Engle was not trying to cover up a murder when he redressed his wife and moved her from the bathroom floor to her bed. Instead, he was trying to preserve his wife’s dignity.
The story was a sad one and Scott Bryce did a great job as Phillip Engle. For that matter, Richard Belzer gave one of his better performances as Munch. This episode made you both respect Munch’s tenacity as a detective while also making you hate him for putting Phillip through so much pain. That said, it was hard not to feel that this episode was a continuation of last week’s introduction of Dr. Cox. The show seems to be really determined to make us love Dr. Cox. I mean, we get it, Homicide. She’s a badass. You don’t have to keep hitting us over the head with it.
Meanwhile, Frank is still offering advice to Bayliss on how to be a homicide detective, even though Frank’s not allowed to go to crime scenes or conduct interrogations. Bayliss’s latest case involves a suspect with a long history of stealing cars. Frank watches as Bayliss screws up an interrogation, getting so lost in talking about how much he would like to steal a car and cruise down to California that the suspect replies, “I want a lawyer.” Bayliss responds to Pembleton’s criticism by telling Pembleton to go into the Box and get the confession himself. Bayliss seems to be sincere. He truly wants Pembleton back in the Box. Pembleton fantasies about storming into the Box like the Pembleton of old but he can’t do it. He can’t break regulations. He can’t risk another stroke. As for the murder suspect, he goes free.
Lewis kicks Brodie out of his house. Kay offers to let Brodie stay with her but Brodie ultimately declines the offer because he doesn’t want people gossiping about Kay. Brodie says that he’s just going to sleep in the station. Good luck with that, Brodie! Seriously, do they even pay Brodie? Why is he always one step away from living on the streets?
Kellerman take a polygraph concerning the accusations that he took a bribe from the Rolands. Kellerman answers, “No,” when asked if he ever took a bribe but he ends the exam when he’s asked whether or not he knows of any other cops who were on Mitch Roland’s payroll. Kellerman is told that he passed the polygraph. But, so did Mitch Roland and “he answered all the questions.”
This was an okay episode, with the scenes between Bayliss and Pembleton being the highlight. The stuff with the Rolands and the bribery accusations isn’t doing much for me. This feels like a storyline that should have been resolved already. That said, I do like it when Kellerman gets annoyed. This episode ended with him hitting a punching bad and looking good while he did it.
The film RISEN opens up just after Jesus Christ is crucified, but before he actually dies. Badass Roman soldier Clavius (Joseph Fiennes) has been put in charge of making sure that Jesus dies and that his followers don’t try to steal his body and claim that he’s “risen” from the dead. Clavius sees Jesus (played by Cliff Curtis) die with his own eyes and allows the Jewish aristocrat Joseph of Arimathea to take the body and place him in his own tomb. Clavius oversees the sealing of the tomb and posts two soldiers on guard. That night the tomb is mysteriously opened, the guards are nowhere to be found, and the rumors begin to circulate that Jesus has risen from the dead. Roman political leader Pilate (Peter Firth) is not happy about all of this disruption in his area, especially with Tiberius Caesar scheduled to visit, so he orders Clavius and his right hand man Lucius (Tom Felton) to find Jesus’ body at all costs.
I’m writing this review a couple of weeks after Easter 2026, and RISEN takes place in the aftermath of Easter Sunday and the 40 days that Jesus spent appearing to his disciples and preparing them to carry his message to the masses. RISEN is an interesting take on the story as it focuses on Clavius, turning him into a detective trying to solve the mystery of Jesus’ missing body. We get to see him interrogate the disciples he can get his hands on, bribe various people for information and even beat information out of people when necessary. No matter what he tries, he keeps running into dead ends.
I’ll give Director Kevin Reynolds (ROBIN HOOD: PRINCE OF THIEVES, THE COUNT OF MONTE CRISTO) some credit for his solid direction of RISEN. His PG-13 rated film made my toes curl up and made me hold my nose multiple times, whether it be the somewhat graphic breaking of the legs of the men being crucified or the times spent with rotting, decaying bodies and the flies and imagined smells that go with them. The film didn’t skimp on these scenes, and it was pretty sickening. But then there is a blunt, powerful scene where Clavius is suddenly forced to deal with things that he can’t reconcile in his own mind. The scene I’m referencing made me feel a sense of awe and wonder and somehow caught me by surprise even in a faith-based film. There aren’t many miracles shown in the film, but those we see are truly heartwarming. RISEN forced strong feelings out of me both physically and emotionally, creating a more powerful experience than I was expecting.
The acting in RISEN is very good. Joseph Fiennes is downright excellent as Clavius. His performance as the tough, weary, cynical soldier is balanced perfectly as his complete disbelief turns into something different based on the events he witnesses throughout the story. The emotional conflict we see in his eyes when he first sees the resurrected Jesus is incredible work. Peter Firth is solid as the politically powerful, but seriously insecure Pilate, who worries more about public perception than the truth. And I’ve always liked the actor Cliff Curtis, who plays Jesus here. He portrays a strong sense of peace and love that is immediately believable and very effective. (On a personal note, Curtis’ scene in the Denzel Washington, Oscar winner TRAINING DAY has always been one of my favorite moments in cinema.)
Overall, I highly recommend RISEN. The film features an incredible lead performance from Fiennes, and the detective story angle brings something distinct and interesting to the table. Due to personal convictions, Christians will find the story the most powerful, but this is a movie that can reach a much wider audience than you might expect.
If you’ve never heard Highway Star by Deep Purple, you’re honestly missing one of the purest shots of adrenaline rock music has to offer. This isn’t just a song—it’s basically a speeding ticket set to music. From the second that opening riff kicks in, it feels like you’re already going 90 mph with the windows down, even if you’re just sitting still. It’s loud, fast, and unapologetically obsessed with the thrill of the road.
What really hooks you is how everything in the song feels like it’s racing forward. Ian Gillan’s vocals don’t just ride the music—they chase it. The lyrics are simple but perfectly on-brand: cars, freedom, speed, and that reckless confidence that makes you want to push things just a little further than you probably should. It’s not trying to be deep; it’s trying to make you feel like you’re behind the wheel of something dangerous, and it absolutely nails that vibe.
And then there’s the guitar solo—starting around 4:04—which is where the song goes from great to legendary. Ritchie Blackmore doesn’t just shred; he constructs this wild, almost classical-sounding run that somehow still feels like it belongs on a straight highway at full throttle. It’s precise but still raw, like controlled chaos. You can practically hear the engine revving in every note. It’s the kind of solo that makes you rewind the track immediately just to hear it again.
Honestly, it wouldn’t be surprising if Highway Star has indirectly helped highway patrol rack up thousands—maybe millions—of speeding tickets since it came out. It doesn’t matter what you’re behind the wheel of—a Honda Civic, a Pontiac GTO, a Ford F-150, or even an AMC Gremlin—once this song kicks in, it burrows into your brain like a worm and suddenly you want to become an avatar of speed on the blacktop. This is not a song you play if you’re trying to drive responsibly—it practically dares you to press harder on the gas. And I’ll admit, even I wasn’t immune; once it started blasting through my car’s stereo, I ended up becoming one of those statistics myself. So yeah, if you’re checking it out for the first time, maybe don’t listen to it on your commute… unless you’re cool with funding your local police department.
Highway Star
Nobody gonna take my car, I’m gonna race it to the ground And nobody gonna beat my car, it’s gonna break the speed of sound Ooh, it’s a killing machine It’s got everything Like a driving power, big fat tires and everything
I love it and I need it, I bleed it
Yeah, it’s a wild hurricane Alright, hold tight, I’m a highway star
Nobody gonna take my girl, I’m gonna keep her ’til the end And nobody gonna have my girl, she stays close on every bend Ooh, she’s a killing machine She got everything Like a moving mouth, body control and everything
I love her, I need her, I see her
Yeah, she turns me on Alright, hold on tight, I’m a highway star
And nobody gonna take my head, I got speed inside my brain And nobody gonna steal my head now that I’m on the road again Ooh, I’m in heaven again I’ve got everything Like a moving ground, an open road and everything
I love it and I need it, I’ve seen it
Eight cylinders, all mine Alright, hold on tight, I’m a highway star
(guitar solo @4:04)
Nobody gonna take my car, I’m gonna race it to the ground And nobody gonna beat my car, it’s gonna break the speed of sound Ooh, it’s a killing machine It’s got everything Like a driving power, big fat tires and everything
I love it and I need it, I bleed it
Yeah, it’s a mad hurricane Alright, hold on tight, I’m a highway star I’m a highway star I’m a highway star
Know Your Enemy
Huh Yeah, we’re comin’ back in with another bombtrack Think ya know it’s all of that, huh Ayo, so check this out, yeah
Know your enemy Come on
Born with insight and a raised fist A witness to the slit wrist As we move into ’92 Still in a room without a view Ya got to know, ya got to know That when I say go, go, go Amp up and amplify, defy I’m a brother with a furious mind Action must be taken We don’t need the key, we’ll break in Something must be done About vengeance, a badge and a gun ‘Cause I’ll rip the mic, rip the stage, rip the system I was born to rage against ’em Fist in ya face in the place and I’ll drop the style clearly Know your enemy
Know your enemy Yeah Ayo, get with this, ugh
Word is born Fight the war, fuck the norm Now I got no patience So sick of complacence With the D, the E, the F, the I, the A, the N, the C, the E Mind of a revolutionary, so clear the lane The finger to the land of the chains What? The “land of the free”? Whoever told you that is your enemy Now something must be done About vengeance, a badge, and a gun ‘Cause I’ll rip the mic, rip the stage, rip the system I was born to rage against ’em Now action must be taken We don’t need the key, we’ll break in
I’ve got no patience now So sick of complacence now I’ve got no patience now So sick of complacence now Sick of, sick of, sick of, sick of you Time has come to pay
Know your enemy
(guitar solo @3:52)
Come on Yes, I know my enemies They’re the teachers who taught me to fight me Compromise, conformity Assimilation, submission Ignorance, hypocrisy Brutality, the elite All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams All of which are American dreams
Today, we wish a happy birthday to actor Hayden Christensen.
This scene that I love comes from the 2003 film Shattered Glass, in which Christensen played real-life journalist and fabulist Stephen Glass. In this wonderfully-acted scene, Glass’s (fake) reporting falls apart as Chuck Lane (Peter Sarsgaard) walks through Glass’s claims.
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 is all about letting the visuals do the talking.
Happy birthday, James Franco, wherever you are!
4 Shots From 4 James Franco Films
The Broken Tower (2011, dir by James Franco)
Child of God (2013, dir by James Franco)
The Sound and The Fury (2014, dir by James Franco)
This was one of INXS’s first videos to go into heavy rotation on MTV.
Director Soren Jensen was an assistant director on the Australian soap opera, The Young Doctors. (Michael Hutchence’s mother was a makeup artist on the Young Doctors.) The actresses who appear in the music video were also on The Young Doctors. The Young Doctors remains largely unknown in the U.S.
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 Prime and Tubi!
Screech has the worst friends in the world.
Episode 1.18 “Screech’s Birthday”
(Dir by Don Barnhart, originally aired on November 14th, 1992)
Screech is upset because all of his “friends” (and his robot, Kevin) forgot his birthday. His friends decide to make it up to him by throwing him a small party in Mr. Belding’s office. However, in order to use Belding’s office, they need control of the halls so they come up with an elaborate scheme to get hall monitor Neil (Jesse Wilson) fired so that Screech can take his place. However, Screech takes his job too seriously and sends everyone to detention, including almost everyone who is supposed to be at his party.
Oh my God, what is Zack going to do!?
Zack uses the PA system to ask that Slater, Lisa, Jessie, Kelly, and Screech come to the principal’s office.
Seriously, that’s all he does.
A few thoughts:
First off, the only reason that Zack his available to call everyone to the principal’s office is because Screech doesn’t send him to detention despite the fact that he catches Zack in the hallway without a hall pass. Now, you might think Zack has immunity because he’s Screech’s best friend but Screech previously sent Lisa — the girl he loves — to detention so why would he give Zack a break? Add to that, Screech is mad at Zack for forgetting his birthday. So, I would think Zack would especially be someone that Screech would want to punish.
Secondly, why couldn’t they just throw Screech a surprise party at Zack’s house? Or Slater’s house? Or the Maxx? Or anywhere other than Belding’s office?
Third, this episode does feature two of my favorite supporting characters, Neil the nasty hall monitor and Mr. Dewey (Patrick Thomas O’Brien), the burned out teacher. Sadly, this was Neil’s only appearance.
Fourth, this episode was filmed for the first season and aired in syndication as a part of the first season but, for some reason, NBC didn’t air the episode until the fourth season. It’s really not any worse than the typical Saved By The Bell episode so it’s odd that NBC held off on airing it for so long.
Fifth, always remember your friends’s birthdays. It’s not that hard!
Matthew Perry played the boyfriend of Kirk Cameron’s sister. He drank too much, he crashed his car, and he died. This is one of those very special episodes that one might roll their eyes at, if not for the fact that it guest starred Perry. Because it did guest star Perry, it was very sad to watch.
Homicide: Life On The Street (Peacock)
A review for this episode will be dropping tomorrow.
Kyōryū Sentai Zyuranger (Shout TV)
In this show, from Japan, a group of teenagers used the power of the dinosaurs to defeat a witch. I watched three episodes on Saturday. The stop-motion dinosaurs and tigers were cute.
The Right Time (YouTube)
This was a 90s music show that was hosted by singer Tom Jones. I watched two episodes on Friday. The first one was called “Pop Music” and I enjoyed it. The second one was called “Gospel Music” and it was a little dull.
Saved By The Bell (Tubi)
A review for this episode will be dropping later tonight.
Who’s The Boss (Prime)
On Friday, after Jeff and I finished up The Trip, Amazon took us straight into this Tony Danza-starring sitcom. We watched the first episode, which was pretty forgettable. (Danza is a former baseball player turned housekeeper and no one can believe it.) The theme song kind of got stuck in my head though.
WKRP In Cincinnati (DVD)
Jeff and I watched several episodes of this 70s sitcom over the week. Even if the humor was a bit dated, it was a funny show. Herb Tarlek’s suits were amazing.
The frontier town of Pecos, Texas is without a marshal and Martin Conroy (Walter Reed) and his men are taking advantage of the situation by forcing people to sell their land for next to nothing. A railroad’s coming and Conroy is looking to make a killing. When landowner Bailey (John Hamilton) is targeted by Conroy, ranch hands Tim Holt (played by Tim Holt) and Rafferty (Richard Martin) are determined to stop him. Federal marshal Terry Moran is summoned to the town to enforce the law. Everyone is shocked when Moran’s daughter — also named Terry (Linda Douglas) — shows up and declares herself the new marshal. “We don’t need no petticoat marshal!” the townspeople cry.
Through the Shattered Lens 