Late Night Retro Television Review: Degrassi High 4.6 “Nobody’s Perfect”


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 High, which aired on CBC and PBS from 1989 to 1991!  The series can be streamed on YouTube!

Oh Romeo, Romeo….

Episode 4.6 “Nobody’s Perfect”

(Dir by Eleanore Lindo, originally aired on December 5th, 1989)

This week’s episode is all about relationships, good and bad.

Patrick (Vincent Walsh), a student from Ireland, sees that Spike is wearing a Pogues t-shirt and asks her out.  Spike replies that she wants to but she can’t because she has to take care of baby Emma at night.  Patrick suggests a day date instead.  Spike agrees, even if she’s still struggling to deal with her feelings about Shane.

(Shane, having suffered brain damage after a bad LSD trip, is not enrolled at Degrassi High.  We won’t see him again until the third season premiere of Degrassi: The Next Generation.)

Meanwhile, despite having broken up with him so that she can date “Clode,” Caitlin still volunteers to be Joey’s scene partner for home room.  They’re supposed to perform a scene from Romeo and Juliet and …. yeah, there’s no way that’s going to be awkward, right?  Caitlin tells Joey that, even though they’ve broken up, she hopes they can still be friends.  Joey awkwardly says, “Yeah.”  They talk about why they broke up.  Caitlin even says, “It’s not you, it’s me.”  Those of us who know our Degrassi history know that this is a scene that’s going to be frequently repeated over the next twenty years or so.

Finally, Kathleen has convinced herself that she’s totally in love with Scott.  Afterall, Scott is always telling Kathleen how much he loves her.  He gives her jewelry.  He sends her flowers.  He wants her to spend all of her free time with him.  Of course, when Scott isn’t doing all of that, he’s beating on her and telling her that she’s stupid for wanting to have any interests outside of being his girlfriend.  When Kathleen is disappointed to discover that she hasn’t been cast in the school play, Scott informs her that she’s just not a very good actress and she shouldn’t worry about it.  When Kathleen says that she wants to try out for a play at the community center, Scott tells her that she needs to make time for him.  When Kathleen tries to have lunch with her friends, Scott drags her away so that she can have lunch with him.  When Kathleen stays after school to practice a scene with her scene partner (who happens to be Luke, the guy who gave Shane the acid), Scott goes absolutely crazy and beats her up in the classroom.

“Kathleen,” Scott insists as Kathleen finally walks away from him, “I love you!”

Kathleen turns to look at him.  We get a freeze frame of her bruised face and then the insanely cheerful Degrassi theme music starts playing.  It makes for an interesting juxtaposition.  (Combining cheerful music with depressing freeze frames was a Degrassi tradition.)

This episode deserves a lot of credit for realistically portraying Kathleen and Scott’s relationship and Scott’s abusive personality.  Everything that an abuser does — from the gaslighting to the subtle insults and the sudden accusations to the desperate begging for forgiveness — is present in this episode and Kathleen’s reactions (“I can change him!”) are all too real.  Degrassi High was a show that dealt with real issues and it usually managed to do it without resorting to melodrama or false hope.  The thing that makes this episode so powerful is that we don’t know if Kathleen had the courage to reject Scott after that freeze frame or, if like so many other girls and women in the same situation, she once again forgave her abuser.  Rebecca Haines deserves a lot of credit for her performance here, as does Byrd Dickens, who is terrifying as Scott.  This episode was Degrassi High at its best and most important.

Lisa Marie’s Week In Review: 12/30/24 — 1/5/25


Welcome to 2025!

Well, it’s a new year and we are off to a really strong start here at the Shattered Lens!  Thank you to everyone who has contributed this week and thank you to all of our readers!

As I sit here typing this, the wind is howling outside and the temperature is plunging.  We’ve been getting ready for the first big snow storm of 2025, which is supposed to hit us on Thursday.  So, as I shiver and turn a weary eye towards the Golden Globes, here’s what I watched, read, and listened to last week!

Films I Watched:

  1. The Ambulance (1990)
  2. Bad Actor: A Hollywood Ponzi Scheme (2024)
  3. The Bat Woman (1968)
  4. The Big Chase (1954)
  5. Bonnie and Clyde Justified (2013)
  6. A Chef’s Deadly Revenge (2024)
  7. Dressed to Kill (2025)
  8. 48 Hours (1982)
  9. From Here To Eternity (1953)
  10. Furiosa: A Mad Max Saga (2024)
  11. Hellzapoppin’ (1941)
  12. The Hole In The Wall (1929)
  13. In A Volent Nature (2024)
  14. The Last Innocent Man (1987)
  15. Noriega: God’s Favorite (2000)
  16. The Twilight Zone Movie (1983)
  17. Money Plane (2020)
  18. Shoot To Kill (1988)
  19. Turbulence 3: Heavy Metal (2001)
  20. Vanished in Death Valley (2025)
  21. Vanished Out Of Sight (2025)
  22. Wild 90 (1968)
  23. The Wrong Life Coach (2024)

Television Shows I Watched:

  1. CHiPs
  2. Cobra Kai
  3. Dark
  4. Days of our Lives
  5. Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest
  6. Going Dutch
  7. Hell’s Kitchen
  8. King of the Hill
  9. Miami Vice
  10. Saved By The Bell
  11. The Twilight Zone

Books I Read:

  1. Mazes and Monsters (1981) by Rona Jaffe
  2. Not Even Nominated (2024) by John DiLeo

Music To Which I Listened:

  1. Adi Ulmansky
  2. Blanck Mass
  3. Britney Spears
  4. Carly Simon
  5. The Chemical Brothers
  6. Coldplay
  7. Dooms UK
  8. Enya
  9. Folk Implosion
  10. The Hospital
  11. Jakalope
  12. Labi Siffre
  13. Lady Gaga
  14. Madness
  15. Ramones
  16. Rita Coolidge
  17. Riz Ortolani
  18. Saint Motel
  19. Sick Visor
  20. Shirley Bassey
  21. Skrillex
  22. Steve Wilson
  23. Tears For Fears
  24. X

Live Tweets:

  1. Turbulence 3: Heavy Metal
  2. 48 Hours
  3. Money Plane
  4. The Twilight Zone Movie

Awards Season:

  1. Lisa Marie’s Oscar Predictions For December
  2. Golden Globes
  3. North Carolina Film Critics Association
  4. Set Decorators Society of America
  5. Oklahoma Film Critics Circle
  6. Kansas City Film Critics Circle
  7. Greater Western New York Film Critics Association
  8. National Society of Film Critics
  9. Minnesota Film Critics Association
  10. Music City Film Critics Association
  11. Columbus Film Critics Association
  12. Critics Association of Central Florida
  13. Georgia Film Critics Association
  14. Kansas City Film Critics Circle
  15. North Texas Film Critics Association
  16. Columbus Film Critics Association 

Trailers:

  1. 6 Trailers For Pop Music Day

News From Last Week:

  1. Director Jeff Baena Passes Away At 47
  2. Author David Lodge Passes Away At 89
  3. Actor Niels Arestrup Passed Away At 75
  4. Actor John Capodice Dies At 83

Links From Last Week:

  1. 10 Most Anticipated Films of 2025
  2. What do The Doors & Mötley Crüe have in common?
  3. My 2024 In Books
  4. Goodbye 2024! Welcome 2025 With Grilled Onion Smash Burgers And Good Luck Food!

Links From the Site:

  1. Case shared a story about fighting!
  2. Leonard reviewed Anora and The Substance!  He shared his thoughts on the Golden Globes!
  3. Jeff reviewed Airplane!, Airplane 2, Night Shift, Scalplock, Chip of the Flying U, and Re-Election Campaign!
  4. Jeff shared a great moment in TV history and a great moment in comic book history!
  5. Erin reviewed Stealing Home and shared The Shocking Covers of Crime Detective!  She shared a visual journey through the fog and wished all of you a happy new year!
  6. Erin shared Sin Time/Office Pet, Reckless Virgin, One Hot Winter, Passion Holiday, Hope, Movie Humor, and Zippy!
  7. Brad revealed what Sergio Leone thought of Charles Bronson and wished happy birthdays to Robert Duvall and John Sturges.
  8. Brad reviewed The Children of Huang Shi, Why Not Me?, The Shawshank Redemption, From Noon Till Three, Episode One of Shane, The Mechanic, and The Tall T!
  9. I listed what I’m looking forward to in 2025!
  10. I reviewed The Love Boat, Monsters, Malibu CA, Highway to Heaven, St. Elsewhere, Friday the 13th, Welcome Back Kotter, Check It Out, and Homicide: Life on the Street!
  11. I shared music videos from Lady Gaga, Steven Wilson, Enya, Tears For Fears, Saint Motel, Sick Visor, and Ramones!
  12. I shared songs of the day from Nino Rota, Skrillex, Ennio Morricone, Shirley Bassey, and Carly Simon!
  13. I reviewed Solomon King, The Power of the Dog, Skokie, And The Band Played On, Shoot To Kill, The Last Innocent Man, Noriega: God’s Favorite, The Shoes of the Fisherman, The Pursuit of D.B. Cooper, EscapeThe Life of Emile Zola, Voyage of the Damned, Dressed to Kill, Tucker, The Valiant, Unforgiven, The Wrong Life Coach, Heaven’s Gate, Rockshow, Megalopolis, In Old Chicago, FuriosaSave The Tiger, The Don Is Dead, Ghosts Can’t Do It, Chariots of the Gods, Shoot First, Mean Streets, The Deer Hunter, Caligula, The Assassination of Trotsky, Days of Thunder, Enemy Within, Godzilla Against Mechagodzilla, Woyzeck, Starcrash, and Beyond The Poseidon Adventure!
  14. I read Not Even Nominated and Mazes and Monsters!
  15. I shared 4 Shots From 4 New Year’s Films and 4 Shots From 4 Science Fiction Films!
  16. I shared scenes from Tomorrow Never Die, Cobra, Once Upon A Time In America, Metropolis, and Strange Days!
  17. I paid tribute to Roger Spottiswoode, George Pan Cosmatos, and Sergio Leone!
  18. I shared an AMV, a blast from the past, and my week in television!

More From Us:

  1. For Horror Critic, I reviewed In A Violent Nature
  2. At my music site, I shared songs from Britney Spears, Dooms UK, The Hospital, Madness and Labi Siffre!
  3. At SyFyDesigns, I said “Happy New Year!’
  4. At my online dream journal, I shared First Dream of 2025, Disco Dream, and a Fragment!
  5. At her photography site, Erin shared A Spider Hard At Work, A Spider Hanging In The Air, The Spider’s Work Is Never Done, The Spider Builds A Trap, and A Spider Does What It Can!

Want to check out last week?  Click here!

Some thoughts on the Golden Globes


Tonight, I covered the Golden Globe Awards for the Lens via Twitter/X. The full list of winners can be found here.

It was an interesting setup, with comedian Nikki Glazer hosting. She didn’t take up too much time on stage, and I like to think that save for the opening monologue, she kept things moving.

Not all of the jokes hit. There were some embarrassing moments with Harrison Ford and Anthony Mackie. While both Awkwfina and Melissa McCarthy (who looked great for the evening) were good, I kind of wanted things to move on a little quicker.

The Brutalist was the Best Picture winner of the evening. The film also won Best Actor (Adrian Brody) and and Best Director in Brady Corbet. This may give the film an interesting chance come Oscar-time. The film beat out high Drama features such as Edward Berger’s Conclave (which managed to pull the Best Screenplay), Denis Villeneuve’s Dune Part Two and James Mangold’s A Complete Unknown.

Jon M. Chu’s Wicked, which some felt was the front runner for the Musical/Comedy was somewhat eclipsed by France’s Emilia Perez, which took home Golden Globes for Zoe Saldana, Best Non-English Film and Best Picture (Musical or Comedy). Wicked did manage to win the newly minted Cinematic and Box Office Achievement award.

Bringing in Demi Moore and Margaret Qualley as presenters for Best Male Actor in a Series was cool to see, watching them play off their pairing in The Substance. Demi’s win for Best Actress was a major highlight for the evening. She, along with Zoe Saldana and Colin Farrell (for HBO’s The Penguin) had some of the best speeches during the show. Colin thanked everyone under the sun, including Craft Services. Also loved the Best Picture (Non-English) winners for Emilia Perez. Colin Farrell thanked everyone from Cristina Milioti to Craft Services. Kieran Culkan beat out his Succession co-star Jeremy Strong for Jesse Eisenberg’s A Real Pain, adding to the notion that Roman might have been the best of the Roys (if not Shiv). It was also great to see Sebastian Stan win for A Different Man. That was a long time coming as I’ve been a fan of his since The Covenant.

Trent Reznor & Atticus Ross won Best Score for Luca Guadagnino’s Challengers. I thought that The Wild Robot would take the Best Animated Film category, but Flow won that, and it honestly looks like a wonderful film.

In TV, it was all about Hacks and Shogun. Both shows dominated the awards with wins for Jane Smart (Hacks), Anna Sawai, Hiroyuki Sanada and Tadanobu Asano (for Shogun). I was particularly happy with Asano’s win, who I thought should have also won an Emmy.

Here’s What Won At The Golden Globes


BEST MOTION PICTURE – DRAMA
The Brutalist

BEST MOTION PICTURE – MUSICAL OR COMEDY
Emilia Perez

BEST DIRECTOR – MOTION PICTURE
Brady Corbet for The Brutalist

BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE – DRAMA
Fernanda Torres for I’m Still Here

BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – DRAMA
Adrien Brody for The Brutalist

BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
Demi Moore for The Substance

BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
Sebastian Stan for A Different Man

BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Zoe Saldana for Emilia Perez

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Kieran Culkin for A Real Pain

BEST MOTION PICTURE – NON-ENGLISH LANGUAGE
Emilia Perez

BEST MOTION PICTURE – ANIMATED
Flow

CINEMATIC AND BOX OFFICE ACHIEVEMENT
Wicked

BEST SCREENPLAY – MOTION PICTURE
Conclave

BEST ORIGINAL SCORE – MOTION PICTURE
Challengers

BEST ORIGINAL SONG – MOTION PICTURE
El Mal from Emilia Perez

The TSL Grindhouse: Solomon King (dir by Sal Watts)


In the early 70s, Sal Watts, the owner a popular chain of Oakland clothing stores, took a look at the “blaxploitation” films coming out of Hollywood and thought to himself, “I can do better.”

For two years, Watts worked on his film.  Originally titled Black Agent Lucky King, the film took place in Oakland and an unnamed Middle Eastern country.  When the evil Prince Hassan (Richard Scarro) overthrows the king and takes over the country’s oil fields, Manny King (played by “Little Jamie” Watts) is among the Americans who escape from the country.  Accompanying him is Princess Oneeba (Claudia Russo), who I guess is supposed to be Hassan’s sister, though it’s never really made clear in the film.

Who is Solomon King?  He’s a businessman.  He’s a social activist.  He’s a former Green Beret and a semi-retried agent of the CIA.  All the women love him.  All the men envy him.  He’s the coolest guy in Oakland and everyone assumes that he’s the perfect person to keep Oneeba safe.  Solomon and Oneeba fall in love.  They talk walks along the beach.  Oneeba is amazed that you can hear the ocean when you hold a shell up to your ear.  The entire time, a man with a high-powered rifle is following Oneeba.  Finally, when Oneeba steps out onto the balcony of Solomon’s penthouse, the sniper take his shot.  Oneeba falls in slow motion.  Solomon holds her as she dies and then, he tries to cry.  In this scene, we’re reminded that crying on cue is not as easy as it looks and that Sal Watts was definitely not a trained actor.

Solomon is out for revenge.  He wants to take down Prince Hassan and return the king to his throne.  He also wants to get back the oil wells that Hassan stole from him and his family.  (The film makes it sound like everyone owns an oil well.)  The CIA suggests that Solomon should get some of his Green Beret pals together and overthrow Prince Hasan.  Sure, why not?  I mean, look how well that thinking worked when the CIA and the Mafia tried to invade Cuba!

Eventually, Solomon puts together an army and invades the unnamed Middle Eastern country.  Even though the country is supposed to be in the Middle East, it’s hard not to notice that it looks a lot like Oakland.  Solomon gets his revenge but nothing can bring Oneeba back to life….

Solomon King was long-considered to be a lost film.  A few years ago, a damaged print was discovered and the film was partially resorted.  (The original film reportedly ran close to two hours.  The restoration clocks in at 85 minutes.)  Solomon King is definitely a work of outsider art.  What Sal Watts lacked in experience and ability, he tried to make up for with determination.  There are a few genuinely well-done shots of Solomon driving his car.   (As befits the coolest guy in Oakland, he’s even got a phone in his car!) The soundtrack features an appealing mix of jazz and funk.  And there are a few politically-charged lines of dialogue that suggest that Sal Watts had more on his mind than just making another action film.  That said, Solomon King is also, even in its shortened version, a rather slow-paced and difficult-to-follow film.  The acting is terrible and the fight scenes are haphazardly edited in a way that’s meant to keep you from noticing that no one in the film is actually hitting anyone but which actually has the opposite effect.  My favorite moment was when there was a close-up of Solomon kicking out his leg and then an abrupt jump cut of someone falling backwards, trying to look as if they had been kicked. It was so unconvincing that it was actually kind of charming.

Solomon King is proof that anyone can make a film but making a good one is significantly more difficult.

Lisa Marie Reviews An Oscar Nominee: The Power of the Dog (dir by Jane Campion)


It’s interesting how quickly a film can be forgotten.

Based on a novel by Thomas Savage, The Power of the Dog was one of the most anticipated films of 2021.  It was considered to be a front runner for Best Picture even before it was released.  Even though everyone knew 2021 was going to be the year that the Academy finally got around to giving Will Smith the Oscar, there was still a lot of excitement about the idea of Benedict Cumberbatch playing a sinister and closeted cowboy named Phil Burbank.  The first teaser featured Cumberbatch being wonderfully creepy.  I remember that I was certainly looking forward to it.

When it finally showed up in theaters and then premiered on Netflix, the reviews were …. respectful.  They were positive but they weren’t exactly enthusiastic.  This was the type of film where people noted that it was well-made and well-acted but it seemed to just be missing a little something.  The film was nominated for a lot of Oscars but, in the end, it only won one, for Jane Campion’s direction.  (And Campion, unfortunately, had to spend the days leading up to the ceremony dealing with a stupid controversy over a very mild joke she made to Serena and Venus Williams about how making a movie was more difficult than playing tennis.)  People admired the skill that went into The Power of the Dog but, in the end, it was CODA that captured the hearts of the Academy.  CODA may not have been as technically well-made as Power of the Dog but CODA was a film that made people cry.  And, in 2021, voters who had spent an entire year being told that they would die a horrible death if they even dared to leave their house without putting on a mask, decided to vote with their hearts.

Taking place in 1925 Montana, The Power of the Dog centers on two prominent ranchers, the Burbank brothers.  Phil Burbank is a man’s man, a bluff and hearty type who lives to conquer the land and who doesn’t have much use for women.  Phil looks down on anything that he considers to be a sign of weakness, like showing emotion or making paper flowers.  And yet, Phil is also fiercely intelligent and Ivy League-educated, a man who is capable of playing beautiful music but who has decided not to.  Phil is cruel and manipulative.  Perhaps the only person that he’s ever respected is his mentor, Bronco Henry.  Phil’s admiration for Henry and his collection of gay pornography tells us all we need to know about why Phil is so obsessed with maintaining his “manly” image.

His brother, George (Jesse Plemons), is a much more sensitive soul than Phil and yet, he allows himself to be dominated by his brother.  It’s not until George meets and marries a widow named Rose (Kirsten Dunst) that he starts to come out of his shell.  Angry that Rose seems to be freeing George from his domination, Phil goes out of his way to make her life miserable, even preventing Rose from playing the piano.  In her loneliness, Rose starts to drink.  Phil, meanwhile, sets himself up as a mentor (and potentially more) for Rose’s sensitive and introverted son (Kodi Smit-McPhee), who does like to make paper flowers but who also has an obsession with his late father’s medical books….

The Power of the Dog is a film that I had mixed feelings about.  On the one hand, I did respect the craft that went into making the film.  The Montana scenery was both beautiful and ominous.  And I thought that both Jesse Plemons and Kirsten Dunst gave award-worthy performances.  Dunst, especially, really captured the pain of Rose’s life on the ranch.  Plemons, meanwhile, made George’s gentle nature compelling, which is not always the easiest thing for an actor to do.  At the same time, Benedict Cumberbatch was miscast as Phil and Kodi Smit-McPhee’s performance was a bit too cartoonishly creepy for the film’s ending to really be as shocking as it was obviously meant to be.  Ultimately, the main problem with the film was that Campion, as a director, kept the audience from really connecting with the characters.  The film was well-made but almost as emotionally remote as Phil Burbank and it left the audience feeling as if they were on the outside looking in.  While the book leaves you feeling as if you’re actually in Montana and allows you into the hearts of all of the characters, even Phil, the movie leaves you feeling as if you’ve just watched a really carefully-made film that ultimately treated you as scornfully as Phil treated Rose.

Because it is such a well-made film, The Power of the Dog is a film worth watching but it’s not necessarily a film that leaves you with any desire to watch a second time.  For all the excitement that the film generated before it was released, it was largely forgotten after it lost the Oscar for Best Picture to CODA.

Game Review: Re-Election Campaign (2024, by Orange)


Re-Election Campaign is a Choose Your Own Adventure-style work of Interactive Fiction.  You are Jesse Jordan, the mayor of Cougar Valley, Washington.  You have been mayor for the last four years and you’re planning on being mayor for the next four and for a long time after that.

But first, can you win reelection?  Getting more votes than your friend Bob shouldn’t be a problem.  But what about Marie Eckles, the wealthy reform candidate who keeps highlighting what a terrible mayor you’ve been?  Do you do what you have to do to raise the money to out-advertise her?  Or do you just challenge her to a duel?  Or do you do something that is potentially even worse to secure your victory?

I don’t want to spoil the game but Re-Election Campaign has so many options and so many different outcomes that its one that you really do have to play over and over again to get the full story.  You can either play this quickly for fun (and I enjoyed seeing what would happen whenever I made an obviously bad decision) or you can do a deep dive and discover just how crazy things can get when politics and power are concerned.  I really enjoyed discovering a new aspect of the story every time that I played.  It takes more than a few run-throughs to really discover who Jesse Jordan really is.  Nothing is what it initially seems and I actually was taken by surprise when the truth was eventually revealed.  Well-written and frequently very funny, Re-Election Campaign is one of the best IF games that I’ve played in a while.

Click here to play Re-Election Campaign.

Chip of the Flying U (1939, directed by Ralph Staub)


In this B-western, Johnny Mack Brown plays Chip Bennett, the foreman of the Flying U Ranch.  The ranch is owned by J.G. Whitmore (Forrest Taylor) and his daughter (Doris Weston), who has just returned from college and who has eyes for Dusty (Bob Baker), a singing ranchhand.

Ed Duncan (Anthony Warde) and his gang are in the arms smuggling business.  To make their business a success, they need access to the ranch, which sits on the shore of a lake.  Knowing that Chip would never let them take over, Duncan tries to frame Chip for a bank robbery and murder.  Chip responds by kidnapping two of Duncan’s men, leading to a final and explosive shootout.

Chip of the Flying U is a western that doesn’t seem to know what era it’s supposed to be taking place in.  Chip, Duncan, and all of the other ranch hands dress like they’re in the late 1800s.  Doris Weston dresses like she’s just stepped out of a 1930s photoshoot.  Duncan is trying to smuggle hand grenades, which were invented in 1908 but not commonly used until World War I.  The movie’s time period is all over the place but that was frequently the case with the B-westerns of the 30s.  Shot on studio backlots and for a very low budget, these films were not concerned with historical accuracy.  Instead, they were about shootouts and a few songs.  Chip of the Flying U offers up both, along with Fuzzy Knight as the comedic sidekick who turns out to be very good with a rifle.

With lots of horse chases and bloodless shoot-outs and not too much romance, this movie may seem creaky by today’s standards but probably thrilled the kids who caught while spending an afternoon at the movies in 1939.  Today, the appeal of movies like this is that the good guys are unquestionably good and the bad guys are unquestionably bad.  They remind us of a simpler time that may have never existed but we all hope it did.

Retro Television Review: Homicide: Life on The Street 2.2 “See No Evil”


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, no one’s innocent.

Episode 2.2 “See No Evil”

(Dir by Christopher Menual, originally aired on January 13th, 1994)

Watch out!  Stanley Bolander’s whining about his divorce again!

Ned Beatty was one of the great character actors and he is certainly convincing in the role of Stanley Bolander, the veteran Baltimore homicide detective who has seen the worst that humanity has to offer and who spends most of his time annoyed with his partner, John Munch.  But, as good as Beatty is, I still groan whenever Bolander starts to talk about his ex-wife and his divorce.  His bitterness was a recurring theme during the first season.  It was annoying but it was understandable because the divorce was still recent.

But now, we’ve started the second season.  It’s time move on, Big Man!

This episode finds Bolander very reluctantly taking part in sensitivity training.  He avoids meeting with Dr. Carrie Weston (Jennifer Mendenhall) until Giardello threatens to suspend him without pay.  Bolander is stunned when Dr. Weston turns out to be sympathetic to his anger over his divorce.  Bolander ever tries to ask Dr. Weston out, just for Weston to inform him that she’s just gotten out of a bad relationship and that she believes “birds of a feather should flock together” and, speaking of birds, did you know that there are lesbian seagulls?  Bolander gets the hint.  Myself, I would probably lie about being a lesbian just to get out of having to spend any more time listening to him cry about his divorce.

Far more interesting than Bolander’s angst were the two cases at the center of this week’s episode.  Chuckie Prentice (Michael Chaban) shoots his dying father (played, in a powerful and intimidating performance, by Wilford Brimley) in the head.  Though Chuckie claims that his father committed suicide, Lewis has his doubts and takes Chuckie to the station for interrogation.  Detective Beau Felton just happens to be Chuckie’s best friend and, after Chuckie tells him that his father specifically asked to be put out of his misery, Felton tries to convince Lewis to say that the shooting actually was a suicide.  At first, Lewis refuses but eventually, he agrees to look the other way while Felton takes Chuckie to wash his hands and destroy any evidence of gunpowder residue on his skin.  Without any definite evidence proving the he fired the gun, Chuckie is free to go and his father’s death is ruled a suicide.

This was a powerful story and it was all the more effective because it refused to come down on one side or the other.  Both Felton and Lewis presented their positions well and the episode ended not on a note of triumph but on a note of weary resignation.  Chuckie is free to go on with his life and his father is no longer in pain but Lewis is going to be haunted by his decision to allow evidence to be destroyed.  Personally, I’m against assisted suicide and I felt it was selfish for Chuckie’s father to ask Chuckie to pull the trigger.  But, having spent the previous few months trying to come to terms with my own father’s passing, I could understand what Chuckie was feeling.  There really are no easy answers.

As for the other case, it involved the shooting of a drug dealer.  The dealer was shot in the back.  A patrolman claimed that he slipped and his gun accidentally fired during the pursuit of the dealer.  Pembleton had his doubts about whether the shooting was really an accident or a case of police brutality.  Even after Giardello warned him that pursuing the case would turn “brother against brother” in the police force, Pembleton insisted on asking every police officer on the scene to turn in their guns for testing.  “You son of a bitch, Pembleton,” Giardello muttered.

And again, this was a storyline that worked because it refused to present an easy solution.  The dead man was a criminal and he was shot while fleeing the cops.  Even though the cop that slipped was eventually cleared of having fired the shot that killed the dealer, it was obvious that the shot did come from a cop.  Pembleton, with his black-and-white view of his job, was determined to find the truth, regardless of the professional consequences.  Giardello, with years more experience than Pembleton, spoke from the heart when he told Pembleton that investigating the case would bring harm not just to the cop who shot the dealer but to every cop working the streets, regardless of whether they were involved or not.  Felton could convince Lewis to look the other way.  Pembleton was not willing to do the same thing.

It was a strong episode, even with all of Bolander’s nonsense.  Perfectly acted, morally ambiguous, and fiercely intelligent, this is an episode that I’ll be thinking about for a while.

Conclave Wins In North Carolina


The North Carolina Film Critics Association has announced its picks for the best of 2024!

BEST NARRATIVE FILM
Anora
The Brutalist
Challengers
Civil War
Conclave
Dune: Part Two
I Saw the TV Glow
Nickel Boys
Nosferatu
The Substance

BEST DOCUMENTARY FILM
Dahomey
No Other Land
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

BEST ANIMATED FILM
Flow
Inside Out 2
Memoir of a Snail
Transformers One
The Wild Robot

BEST FOREIGN LANGUAGE FILM
All We Imagine As Light
Emilia Pérez
Evil Does Not Exist
I’m Still Here
The Seed of the Sacred Fig

BEST DIRECTOR
Brady Corbet – The Brutalist
Coralie Fargeat – The Substance
Luca Guadagnino – Challengers
RaMell Ross – Nickel Boys
Denis Villeneuve – Dune: Part Two

BEST ACTOR
Adrien Brody – The Brutalist
Timothée Chalamet – A Complete Unknown
Daniel Craig – Queer
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave

BEST ACTRESS
Cynthia Erivo – Wicked
Marianne Jean-Baptiste – Hard Truths
Mikey Madison – Anora
Demi Moore – The Substance
Zendaya – Challengers

BEST SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Chris Hemsworth – Furiosa: A Mad Max Saga
Clarence Maclin – Sing Sing
Denzel Washington – Gladiator II

BEST SUPPORTING ACTRESS
Aunjanue Ellis-Taylor – Nickel Boys
Ariana Grande – Wicked
Felicity Jones – The Brutalist
Katy O’Brian – Love Lies Bleeding
Margaret Qualley – The Substance
Isabella Rossellini – Conclave

BEST VOCAL PERFORMANCE IN ANIMATION OR MIXED MEDIA
Kevin Durand – Kingdom of the Planet of the Apes
Lupita Nyong’o – The Wild Robot
Maya Hawke – Inside Out 2
Pedro Pascal – The Wild Robot
Sarah Snook – Memoir of a Snail

BEST ACTING ENSEMBLE
Conclave

Dune: Part Two
Saturday Night
Sing Sing
Wicked

BEST ORIGINAL SCREENPLAY
A Different Man
Anora
The Brutalist
Challengers
The Substance

BEST ADAPTED SCREENPLAY
Conclave

Dune: Part Two
Nickel Boys
Nosferatu
Sing Sing

BEST CINEMATOGRAPHY
Challengers
Dune: Part Two
Nickel Boys
Nosferatu
The Brutalist

BEST EDITING
Anora
Challengers
Conclave
Dune: Part Two
Nickel Boys

BEST COSTUME DESIGN
Conclave
Dune: Part Two
Furiosa: A Mad Max Saga
Nosferatu
Wicked

BEST HAIR AND MAKEUP
A Different Man
Dune: Part Two
Nosferatu
The Substance
Wicked

BEST PRODUCTION DESIGN
The Brutalist
Dune: Part Two
Furiosa: A Mad Max Saga
Nosferatu
Wicked

BEST SCORE
The Brutalist
Challengers
Conclave
Nosferatu
The Wild Robot

BEST ORIGINAL SONG
“Compress/Repress” – Challengers

“El Mal” – Emilia Pérez
“Harper and Will Go West” – Will & Harper
“Kiss the Sky” – The Wild Robot
“Like a Bird” – Sing Sing

BEST SOUND DESIGN
Challengers
Civil War
Dune: Part Two
Nosferatu
Wicked

BEST SPECIAL EFFECTS
Dune: Part Two

Furiosa: A Mad Max Saga
Kingdom of the Planet of the Apes
Nosferatu
The Substance

BEST STUNT COORDINATION
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator II
Monkey Man

DIRECTORIAL DEBUT
Vera Drew – The People’s Joker
Francis Galluppi – The Last Stop in Yuma County
Zoë Kravitz – Blink Twice
Josh Margolin – Thelma
Sean Wang – Dìdi (弟弟)
Malcolm Washington – The Piano Lesson

BREAKTHROUGH PERFORMANCE
Carlos Diehz – Conclave
Clarence Maclin – Sing Sing
Mikey Madison – Anora
Katy O’Brian – Love Lies Bleeding
Adam Pearson – A Different Man

LIFETIME ACHIEVEMENT: Cinematography
Roger Deakins

Christopher Doyle
Greig Fraser
Emmanuel Lubezki
Hoyte van Hoytema

KEN HANKE MEMORIAL TAR HEEL AWARD
Stephen McKinley Henderson – Civil War
Jeff Nichols (Director) – The Bikeriders
Margaret Qualley – The Substance
Hunter Schafer – Cuckoo
Drew Starkey – Queer