Late Night Retro Television Review: Pacific Blue 2.12 “Wheels of Fire”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network!  It’s currently streaming everywhere, though I’m watching it on Tubi.

This week, TC is pissed off because he’s expected to do his job.

Episode 2.12 “Wheels of Fire”

(Dir by Gary Winter, originally aired on November 17th, 1996)

Two Russian mobsters are shaking down businesses on the boardwalk.  Only Ed Tarlow (Richard Redlin), a paraplegic who owns a “head shop,” is willing to testify against them.  This means that he gets two undercover bicycle cops assigned to his shop to provide protection.  TC and Cory get the assignment but it turns out that TC doesn’t want to protect Ed because he feels that Ed is selling drug paraphernalia and that Ed “is a cop hater.”

Hey, TC — it’s your job, idiot.  You’re supposed to help everyone on the boardwalk, regardless of how you feel about them personally.

Still, TC spends most of the episode pouting.  It’s mentioned that he’s also worried about studying for his upcoming sergeant’s exam but if TC is too immature to protect Ed without bitching about it than maybe TC doesn’t deserve a promotion.  TC is also upset because his girlfriend wants to go out-of-state so that she can enroll in a graduate program, become a sex abuse counselor, and help rape victims.  Because how dare she try to help other women without checking with TC first, right?  TC IS THE WORST!

Eventually, Palermo rolls up and tells TC that Ed is a decorated veteran who was paralyzed by a cop during an anti-war protest.  TC realizes that he misjudged Ed and he finally stops pouting enough to catch the Russian mobsters.  But you know what?  It shouldn’t matter how Ed ended up in wheelchair and it also shouldn’t matter whether or not he’s a veteran.  TC’s job is to protect people from crime!  Ed has got two Russian mobsters trying to kill him.  TC should be protecting Ed because that’s HIS.  DAMN.  JOB!

Meanwhile, three woman are secretly beating up creepy men on the boardwalk.  One of the women is a rape survivor and the other two women claim that they are getting vengeance for her.  What is the deal with this show not only using rape as a plot point but also trivializing it in the process?  Chris Kelly eventually arrests the women and does her thing where she glares at everyone.

Palermo’s 15 year-old daughter goes to Del Toro and asks “type of condom do guys like.”  It turns out that she’s thinking about having sex with her 19 year-old boyfriend.  Del Toro’s answer should have been, “Your boyfriend is old enough to buy his own condoms.”  Instead, Del Toro convinces her to hold off on having sex until he can check out her boyfriend.  Her boyfriend turns out to be a nice guy but still, a 19 year-old dating a 15 year-old is kind of weird.  (It’s less the age difference and more the maturity difference.  Four years isn’t that big a deal when it’s something like a 26 year-old and a 22 year-old.  But this is the difference between someone starting high school and someone starting college.)  It’s also statutory rape, though no one seems to be too concerned about that.

Anyway, Palermo finds out so guess which couple isn’t going to be having sex for a long time?

This was another stupid episode of Pacific Blue.  Again, the problem isn’t just that the cops all look stupid on their bicycles.  It’s also that the cops represent everything that people hate about cops.  Chris and TC are both self-righteous and immature.  (When someone complains about Chris nearly running someone over on her bicycle, Chis replies that she’s doing her job.)  It gets annoying after a while.

This week’s episode served as a reminder to never depend on anyone riding a bike.

Colossus: The Forbin Project (1970, directed by Joseph Sargent)


Deep in a complex that is hidden away in the Rocky Mountains, Dr. Charles Forbin (Eric Braeden) has put together and programmed a computer called Colossus.  A super computer, Colossus has been designed to control the nuclear arsenal of the United States and its allies.  Colossus will not only keep America safe but it was also remove the chance of human error or human hesitation.  No longer will two men sitting in a silo with a key have to make the decision whether to obey the orders coming from the commander in chief.  No longer will people have to make the split-second decision that could plunge the world into war.

To Forbin’s surprise, the Soviet Union has developed their own super computer, called Guardian.  Colossus asks to be “linked” to Guardian and the Russians agree to allow it as a gesture of good will.  What no one realizes is that both computer systems have become sentient and that they soon decide that humans cannot be trusted to not destroy themselves and the planet.  To Forbin’s horror, Colossus starts to take over the world.

Based on a novel by Dennis Feltham Jones, Colossus was originally filmed in 1968 but it wasn’t released until 1970.  The film looks dated with its gigantic computer but it feels prophetic with its storyline about an AI taking over the world and deciding that it knows better than its makers.  Director Joseph Sargent adroitly mixes science fiction with Bond-style intrigue as Charles Forbin tries to reason with his creation and both the CIA and the KGB try to take down the computers.  The film even tosses a bit of 70s-style paranoia, with both the American and the Soviet governments trying to keep the public from discovering that the supercomputers are trying to take over the world.

Colossus: The Forbin Project is an intelligently written and thought-provoking science fiction film.  Eric Braeden does a great job as Charles Forbin, the engineer who goes from being arrogant and cocky to desperate to finally defiant as his creation slips out of his control.  William Schallert, so often cast as a nice father figure, turns in a good performance as the head of the CIA as does Susan Clark, cast as a colleague who has to pretend to be Forbin’s mistress just so she and Forbin can talk and plot without being monitored by Colossus.

Colossus is a smart sci-fi film that is more relevant than ever.

Retro Television Review: Fantasy Island 7.2 “The Big Switch/Hooker’s Holiday”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1984.  Unfortunately, the show has been removed from most streaming sites.  Fortunately, I’ve got nearly every episode on my DVR.

This week, the tyranny of Laurence continues.

Episode 7.2 “The Big Switch/Hooker’s Holiday”

(Dir by Bob Sweeney, originally aired on October 15th, 1983)

Shelley James (Melinda Culea) is a high-priced call girl who comes to Fantasy Island looking for an escape from her life.  For one weekend, she wants not only a normal life but also a chance to meet a man who will love her without paying her for sex.  Luckily, Brad Jacobs (Richard Hatch) is also on the Island!

This is the type of fantasy that Fantasy Island handled well in the past.  It doesn’t work out quite as well this episode became Mr. Roarke’s new servant (there’s no other word for him), Laurence, makes some rather snarky and judgmental comments about Shelly and her profession (asking at one point whether she’s on the Island for a fantasy or to give someone a fantasy) and it just feels totally wrong.  One of the good things about Fantasy Island was that Roarke never judged the people asking for fantasies.  He may have warned them about what they would discover.  Sometimes, he manipulated them to help them discover something important about themselves.  But once you were allowed to come to the Island, Roarke didn’t judge you and neither did Tattoo.  In fact, Tattoo was probably even less judgmental than Roarke.  Tattoo knew what it was like to be judged.  Laurence, on the other hand, is a snooty British butler and seems personally offended by Shelley’s presence on the Island.  (Eventually, after she shares her tragic backstory, he comes around but still, it shouldn’t take a sad story to get people to treat each other with decency.)  Laurence is the type of employee who would keep me from wanting to visit the Island.  I fear he would tell me that my skirt was too short or something.

As for the other fantasy, Laura Walter (Katharine Helmond) feels that her husband George Walter (Vic Tayback) is a chauvinist and she’s right.  She wants him to experience what it’s like to be a woman so Roarke arranges for them to switch bodies.  Laura is in George’s body and George is in Laura’s body but for some reason, the show dubs their voices so, whenever George speaks, we hear Laura’s voice and whenever Laura speaks, we hear George’s voice.  It’s a bit awkward.  Why would their voice switch too?  Anyway, Laura discovers that women tend to toss themselves at George and George discovers that his business partner is a lech.

It’s the final season and final seasons often feel uninspired.  That was certainly the case with this episode.  Even the reliable Ricardo Montalban seemed bored with it all.  In the end, it’s just not as much fun without Herve Villechaize around.

Song of the Day: Crazy Train by Ozzy Osbourne (R.I.P.)


We all knew it was coming but this one still hurts.

Ozzy Osbourne, RIP.

All aboard! Hahaha

Crazy, but that’s how it goes
Millions of people living as foes
Maybe, it’s not too late
To learn how to love, and forget how to hate

Mental wounds not healing
Life’s a bitter shame
I’m goin’ off the rails on a crazy train
I’m goin’ off the rails on a crazy train

I’ve listened to preachers,
I’ve listened to fools
I’ve watched all the dropouts
Who make their own rules
One person conditioned to rule and control
The media sells it and you live the role

Mental wounds still screaming
Driving me insane
I’m goin’ off the rails on a crazy train
I’m goin’ off the rails on a crazy train

I know that things are going wrong for me
You gotta listen to my words, yeah, yeah

Heirs of a cold war,
that’s what we’ve become
Inheriting troubles,
I’m mentally numb
Crazy, I just cannot bear
I’m living with something that just isn’t fair

Mental wounds not healing
Who and what’s to blame
I’m goin’ off the rails on a crazy train
I’m goin’ off the rails on a crazy train

Scenes that I Love: Walter Matthau Talks To Robert Shaw in The Taking of Pelham One Two Three


100 years ago, on this date, Joseph Sargent was born in New Jersey.  Sargent would go on to become one of the busiest directors of the 70s, 80s, and 90s, working in both film and television.  Though he would never receive the type of critical attention as some of his contemporaries, Sargent was a skilled director who specialized in making entertaining, no-nonsense films.  Though his reputation was tarnished a bit by the fourth Jaws film, it should be remembered that Sargent was also responsible for films like Colossus: The Forbin Project, Tribes, Nightmares, and The Taking of Pelham One Two Three.

1974’s The Taking of Pelham One Two Three has come to be recognized as a genre classic.  It’s certainly one of my favorite films about how New Yorkers will be rude to anyone in any circumstances.  You can see an example of this in today’s scene that I love.  Having hijacked a train, Robert Shaw calls in his last of demands and gets a very New York response.

4 Shots From 4 Films: Special Paul Schrader 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!

Today is the birthday of the one and only Paul Schrader!  It’s time for….

4 Shots From 4 Paul Schrader Films

Blue Collar (1978, dir by Paul Schrader, DP: Bobby Byrne)

American Gigolo (1980, dir by Paul Schrader, DP: John Bailey)

Cat People (1982, dir by Paul Schrader, DP: John Bailey)

First Reformed (2018, dir by Paul Schrader, DP: Alexander Dynan)