Retro Television Review: Homicide: Life On The Street 4.20 “The Wedding”


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 …. someone’s getting married!

Episode 4.20 “The Wedding”

(Dir by Alan Taylor, originally aired on May 10th, 1996)

Kevin Lungo, a Baltimore radio host, is found dead.  The previous day, he announced on his program that he was not only in favor of abortion but he was in favor of requiring any pregnant woman with an IQ of less than 100 to have one.  Did that comment lead to him being gunned down in a parking lot?

(When this episode aired, 100 was considered to be an “average” IQ.  Now, the average IQ is considered to be 90.  That’s not a good thing.)

We never really find out.  The case is handled by Giardello and Kay and, while Kay has never heard of Lungo, it turns out that Giardello used to enjoy listening to him.  (Hopefully, Giardello disagreed with Lungo’s pro-eugenics stance.)  When the radio station offers a $5,000 reward for any tips, someone calls in and give the name of the “killer.”  When Giardello and Kay follow-up on the tip, the suspect pulls a gun and is shot dead by Giardello.

Giardello feels guilty about the shooting.  He tells that Kay that, when he was younger, he was able to shoot well-enough that he could simply wound a suspect, instead of killing him.  Making it even worse is that the dead man has an alibi.  The call was just a practical joke between friends.  “Why did you have to kill him!?” the dead man’s friend wails.

Back at the squad room, Lewis shocks everyone by announcing that he’s getting married to a woman that they’ve never heard of.  While he doesn’t invite any of his co-workers to the wedding, he does ask them to attend a reception at the Belvedere Hotel.  He tells Pembleton to order and pay for the flowers.  He asks Russert to arrange for the band and an open bar and asks if she would be willing to cover the cost.  (“Until my next paycheck,” Lewis assures her.)  Munch assumes that Lewis is lying.  Most of the squad room suspects that Lewis is lying.  But they give him the benefit of the doubt and show up for the reception.

Also going to the reception is Carrie, the very glamorous sister of Kay Howard.  Carrie is visiting from Florence and soon, both Kellerman and Bayliss are shamelessly flirting with her.  An actress named “Margaret May” is credited as playing Carrie.  Of course, Margaret May is actually Melissa Leo.

With the exception of Giardello and Kay (who are still working the Lungo murder), all of Lewis’s colleagues show up at the ballroom.  Even the crusty forensics examiner, Scheiner (Ralph Tabakin), shows up.  “Do you want to dance?” he asks Russert’s daughter.  “NO!” she replies.

But where’s Lewis?  Lewis is missing.  Was Munch right?  Pembleton, who is there with his very pregnant wife, is not amused.  As Brodie films him, Pembleton announces that he is going to kill Lewis and he will never get caught because of his experience as a homicide detective….

Fortunately, Lewis shows up before Pembleton gets his gun.  And accompanying Lewis is his new wife, Barbara Shivers (Karen Williams)!  The reception is a huge success.  The band plays.  Kellerman and Bayliss both try to hold onto Carrie’s attention.  Scheiner watches as Russert’s daughter proceeds to dance with everyone but him.  Finally, Giardello and Kay show up.  Kay warns Bayliss that Carrie is dangerous.  Bayliss asks why.  Kay says that Carrie likes to play game and she just does whatever feels good.  Bayliss looks intrigued….

Mary Pembleton’s water breaks on the dance floor as she goes into labor!  (In a nice twist, Mary Pembleton was played by Andre Braugher’s real-life wife, Ami Brabson.)  As the episode ends, even Giardello smiles.  For all the ugliness in the world, there is still hope.

I loved this episode!  Homicide’s greatest strength was its ensemble and here, everyone gets a chance to show off.  Yaphet Kotto reminds us of what an imposing actor he truly was, though my favorite Giardello moments continue to be the times when he allows himself to get amused by the absurdity of it all.  What really made this episode was for me was that, even with the wedding reception and Mary going into labor, the episode never allowed itself to be sentimental.  For most of the episode, everyone is skeptical about Lewis getting married and, having watched Meldrick Lewis for four season, I was skeptical too!  In the end, the episode earned its right to emotionally satisfying through smart storytelling and good acting.

6 Shots From 6 Films: Special John Ford Edition


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

John Ford was born 132 years ago today, in Maine.  Seeing as how John Ford is one of the most influential and important directors of all time, it was pretty much guaranteed that we were going to share a few shots from his filmography on the Shattered Lens.

In honor of John Ford, here are….

6 Shots From 6 Films: Special John Ford Edition

The Informer (1935, dir by John Ford, DP: Joseph August)

Stagecoach (1939, dir by John Ford, DP: Bert Glennon)

The Grapes of Wrath (1940, dir by John Ford. DP: Gregg Toland)

My Darling Clementine (1946, dir by John Ford, DP: Joseph MacDonald)

The Searchers (1956, dir by John Ford, DP: Winston C. Hoch)

The Man Who Shot Liberty Valance (1962, dir by John Ford. DP: William H. Clothier)

Anime You Should Be Watching: Spy x Family


Sometimes, an anime comes along that doesn’t just entertain — it charms, disarms, and quietly becomes everyone’s go-to comfort watch. Spy x Family is that kind of series. On paper, it sounds like something stitched together from wildly different genres — a spy thriller, a rom-com, a slice-of-life comedy, and an action series — yet somehow, across three seasons and a feature-length film, it balances them all perfectly. What starts as an undercover mission turns into a story about love, belonging, and the odd little family that holds it all together. Whether you’re new to anime or already knee-deep in your watchlist, Spy x Family is absolutely worth your time.

The setup is simple but brilliant. In an uneasy Cold-War-style world, Westalis’s top agent, codenamed Twilight, must go undercover to prevent the outbreak of war. His mission requires him to get close to an influential political figure, but the only way to do that is by enrolling a “child” into the exclusive Eden Academy — which only accepts the offspring of established, respectable families. And so, Twilight builds one from scratch. Under the alias “Loid Forger,” he adopts a six-year-old orphan named Anya and enters into a marriage of convenience with Yor Briar, a sweet but mysterious city hall worker. What Loid doesn’t know is that Yor moonlights as a deadly assassin, and his quiet new daughter happens to be a telepath who can read everyone’s minds.

That’s the hook, and it’s beautifully absurd. But what makes Spy x Family (based on Tatsuya Endo’s manga and its accompanying light novel adaptations) so appealing is how effortlessly the absurd premise gives way to genuine heart. The anime adaptation — skillfully brought to life through a joint production by Wit Studio (Attack on TitanVinland Saga) and CloverWorks (The Promised NeverlandHorimiya) — masterfully captures the manga’s mix of elegant spy-world detail and exaggerated comedic charm. From the first season’s pilot to the explosive third season finale, the animation maintains a crisp polish that perfectly walks the line between cinematic and cartoonish fun.

Season one laid the foundation. It showed us the logistical nightmare of Loid trying to maintain his cover while juggling his secret missions, parenting duties, and the increasing chaos that Anya brings into his life. The tone lands somewhere between Mission: Impossible and My Neighbor Totoro — fast-paced but softhearted. Every episode delivered something different: stealth missions, emotional bonding, laugh-out-loud domestic failures. Yor’s awkward attempts at cooking, Anya’s disastrous adventures at school, and Loid’s obliviously perfectionist approach to “family life” all came together to prove that the show’s greatest strength wasn’t just its clever story — it was its heart.

By season two, the world of Spy x Family expanded, and so did its drama. The writing matured without ever turning grim, deepening both the espionage angle and the emotional relationships at home. Anya’s telepathic insights became more than comic relief; they offered a perspective that grounded the story in empathy. Loid was forced to confront the emotional toll of a double life, and Yor’s violent profession clashed hilariously (and sometimes poignantly) with her desire to protect and nurture her newfound family. The season’s standout arc — the Cruise Adventure — gave Yor her most intense focus yet, crafting an action sequence that justified every bit of Wit and CloverWorks’ collaboration. The fight choreography, the lighting, the flow of Yor’s combat scenes — every frame had purpose and weight, showing how seriously the anime treats even its most outlandish story beats.

And then came season three, the capstone of what’s been an almost-uninterrupted high run for the series. With the family now firmly established, the emphasis shifted from introductions to evolution. The show explored Loid’s moral conflict with unusual tenderness: can a man who’s built a life on lies still find real happiness? Yor’s arc moved beyond secrecy into subtle self-awareness — she’s no longer just pretending to be a wife and mother; she’s realizing that’s what she truly wants to be. Meanwhile, Anya, still the chaotic heart of the Forger family, grew more self-assured while remaining the series’ comedic backbone. Her misadventures at Eden Academy became a microcosm of the show’s central theme: that no one truly fits the mold of “normal,” and that being imperfect doesn’t make you any less worthy of love.

What’s remarkable about Spy x Family is its ability to keep that emotional balance intact while evolving tonally. By the third season, it has developed a comfortable rhythm — equal parts spy intrigue, domestic mishaps, and heartwarming chaos. The humor never feels stale, largely because the writing never forgets that humor comes from truth. Loid’s mission, for instance, may start as professional necessity, but his determination to remain the “perfect father” — even if it means memorizing bedtime stories like they’re classified intel — feels both ridiculous and deeply relatable. Yor’s mix of lethal grace and anxious vulnerability gives her layers rarely afforded to “action mom” archetypes. And Anya — let’s face it — remains one of the most perfectly written kids in anime, her expressive face practically carrying half the show’s comedy on its own.

Then there’s the movie, Spy x Family Code: White, which acts as an extended, film-length episode with blockbuster scale. Set between the second and third seasons, it takes the Forger family on what’s supposed to be a peaceful winter vacation — until international conspiracies, toxic desserts, and a handful of assassins upend their plans. The film doesn’t reinvent the wheel, but it doesn’t need to; it’s a self-contained joyride that amplifies everything people love about the series. The animation quality gets a cinematic upgrade — lush lighting, more fluid action, and stunning color work that gives the film its own visual identity. Both Wit Studio and CloverWorks pushed their production quality to a new peak here, making Code: White not just a companion piece but a genuine event film that delivers a big-screen version of the show’s charm. Fans got the edge-of-your-seat spy action and tear-worthy family moments they love — plus even more Anya faces to meme forever.

Animation aside, the sound design and music remain just as crucial to Spy x Family’s atmosphere. The jazzy, upbeat openings and lush, emotional ending themes reflect the dual nature of the world — equal parts espionage and emotion. The soundtrack carries subtle motifs for each character: Loid’s themes balance tension and meticulous order; Yor’s melodies pair elegance with hidden volatility; and Anya’s cues swing between whimsy and mischief. It’s yet another element that shows how much care has gone into aligning every layer of the production with the story’s emotional rhythms.

But all the polish in the world wouldn’t matter without the show’s soul. Beneath the disguises and absurd premises, Spy x Family is a show about honesty in unlikely places. It’s about people pretending to be something they’re not, only to realize that, through those roles, they’ve stumbled into genuine connection. It’s about an assassin learning gentleness, a spy learning love, and a child who already knows far too much learning that her broken family is still something worth protecting. That sincerity gives the comedy weight. Each laugh — Yor’s overreactions, Loid’s calculated stress, Anya’s mangled “Waku Waku!” enthusiasm — lands because we care about these people. Underneath the disguises and double-crosses, they’re just a family trying their best.

The beauty of Spy x Family is that it rarely rushes to make big statements. Its storytelling prefers warmth over melodrama, pacing itself with the easy confidence of a show that knows its characters can carry anything. Even when new spies, assassins, or political threads appear, the focus always slides back to the Forgers’ living room — dinner conversations, laughter, awkward silences. It’s there, in the small moments, that Spy x Family becomes more than entertainment. It becomes a reflection of what it means to connect, to care, and to find pieces of yourself in others, even when everything begins as a lie.

Three seasons and a movie later, it’s clear why Spy x Family stands out in modern anime. It doesn’t rely on shock twists or brute spectacle to hold attention — it wins you over with its heart. The collaboration between Wit Studio and CloverWorks has resulted in a show that feels both cinematic and cozy, polished yet endlessly rewatchable. Tatsuya Endo’s world is captured with fidelity and personality: richly detailed, emotionally grounded, and irresistibly funny.

If you’re on the fence about starting it, here’s the honest truth: you’ll go in expecting a clever spy comedy, but you’ll stay because it becomes something warmer, deeper, and unforgettable. Spy x Family might be about secret lives and pretend relationships, but the feelings it evokes are absolutely real. At a time when so many shows chase intensity, this one wins through sincerity. And that alone makes it one mission you don’t want to miss.

Scenes I Love: John Ford’s The Man Who Shot Liberty Valance


The legendary director John Ford was born 132 years ago today, in Maine of all places.  He may have been born in New England but few directors have done a better job of capturing, on film, the forces that shaped America.

He also directed one of my favorite films, The Man Who Shot Liberty Valance.  Today’s scene that I love comes from the end of that 1962 film and it features a line that would become a classic.  “Print the legend.”  That was a line that Ford clearly understood and I imagine it’s one that all great filmmakers eventually come to appreciate.

Song of the Day: Free by Michael Fredo


Today is National Freedom Day, which celebrates the anniversary of President Lincoln singing the joint House and Senate resolution that proposed the 13th amendment to the U.S. Constitution.

Today’s song of the day is a favorite of mine and I think it deserves to be heard by more people.  Here is Michael Fredo with Free.

Ain’t never had a day, never had a day
Ain’t never had a day, never had a day

Rising up, the morning sun
Walking down the street, oh, my day has just begun
I’m feeling fine, what’s come over me?
Ain’t never had a day when I feel so, feel so

Feel so free
Ain’t never had a day, what’s come over me, baby?
Feel so free, yeah
Ain’t never had a day, what’s come over me?

I thought this day would never ever end
I felt so high (Felt so high)
I’d do it all again (I’d do it all again)
I can’t explain what’s been in my heart
It’s not about a girl (It’s not about a girl)
It’s about my day and how it started

Feel so free
Ain’t never had a day, what’s come over me, baby?
Feel so free, yeah
Ain’t never had a day when I can fly so, fly so

Oh, oh, oh, oh
I’ve waited for you so long and I cannot say goodbye
So come and fly with me
I’ll take you to a place that you would rather be

The day is done, the night is here
I look up to the sky with stars perfectly clear
The moon is full, I praise the Lord
For another day that we can say, we can say hey

Oh, oh, oh, ain’t never had a day, what’s come over me, baby?
Feel so free, yeah
Ain’t never had a day when I can, when I can groove with you
Never had a day, never had a day
Ain’t never had a day, what’s come over me, baby?
Feel so free, yeah

Never, never, never, never had a day

Free, free
Free, free

Music Video of the Day: Always Something There To Remind Me by Naked Eyes (1982, dir. by Pepe Marcos and Simon Milne)


Happy February!  It’s the month of love …. at least for the first 14 days!  So, here’s a nice romantic music video of the day to start things off with.

Enjoy!