
by Ray Quigley
That does appear to be one weird tale.

by Ray Quigley
That does appear to be one weird tale.
This video was shot outside of a house on a dirt road near Savannah, Georgia. John Mellencamp wanted to highlight the poverty that many Americans were living under. This video was also shot at a time when Mellencamp was still trying to escape from the “Johnny Cougar” persona that was forced on him early on in his career. (In fact, at the time this song was recorded, he was still officially known as John Cougar Mellencamp.)
Enjoy!

It is incredibly rare to find a game that completely takes over your brain in the way that Balatro has. Developed by a solo creator going by the name LocalThunk and published by Playstack, this little indie game dropped out of nowhere and quickly became one of the most talked-about releases of the year. On the surface, it looks like a pretty standard digital poker game. You have a deck of cards, you get dealt a hand, and you try to make the best poker hand possible. But spend about five minutes with it, and you will quickly realize that Balatro is not actually a poker game at all. It is a brilliantly disguised roguelike deck-builder that uses the universal language of poker hands as its foundation to create one of the most addicting gameplay loops I have ever experienced.
The core mechanics start off simple enough to teach anyone, even if you have never played a card game in your life. You are trying to beat a certain score threshold, known as a blind, by playing poker hands. A pair gives you a base amount of chips and a small multiplier. A flush gives you more chips, and a straight flush gives you even more. You play through a series of antes, and the score requirements get higher and higher as you progress. If you fail to reach the score limit with the hands you are dealt, your run is over and you have to start from scratch. It sounds like standard video poker, but the magic of Balatro lies in what happens between these hands.
This is where the deck-building and roguelike elements come crashing in to completely warp your perspective on playing cards. After every blind, you visit a shop where you can spend your hard-earned money on various upgrades. The most important of these are Jokers. You can have up to five Jokers at a time, and each one fundamentally breaks the rules of poker in wildly different ways. One Joker might give you a massive multiplier every time you play a pair. Another might destroy a card in your hand and give you extra chips for each card destroyed. Another might only activate if you play a hand that contains a spade. Suddenly, you are no longer trying to play the statistically best poker hand. You are trying to play the hand that best satisfies the chaotic rules of your specific Jokers.
The deck-building goes even deeper when you factor in the other items you can buy in the shop. Planet cards permanently level up specific poker hands, meaning your flushes will naturally score more points without needing a Joker to boost them. Tarot cards let you literally alter your deck by changing the suit of a card, turning a card into a wild card, or destroying cards outright to thin your deck and increase your chances of drawing the cards you actually need. Spectral cards offer high-risk, high-reward effects that can either make your run legendary or immediately ruin it. If you have ever played a game like Slay the Spire or Monster Train, you will feel right at home with how these systems interlock, but Balatro manages to feel entirely fresh because of its playing card aesthetic.
As a roguelike, the game structure demands that you adapt to what the game gives you. You cannot force a flush-focused build if the shop only gives you Jokers that synergize with pairs and high cards. You have to pivot your strategy on the fly, which leads to these beautifully chaotic runs where you end up winning through sheer absurdity. To keep you on your toes, every eighth blind is a Boss Blind. These bosses apply a universal handicap to your run, like disabling the effect of all face cards, or making it so playing a straight actually deducts points. Beating a Boss Blind requires you to either build an incredibly versatile deck or find a specific Joker that completely ignores the boss’s rules, which is immensely satisfying when you pull it off.
The real triumph of Balatro, however, is just how unbelievably addicting its game loop is, and how that addiction directly feeds into the creation of utterly insane deck combos. Because the game constantly drip-feeds you new jokers and upgrades after every single round, you are always chasing that next layer of synergy. This creates a compulsion loop where you just want to see how far the math can go. What starts as a humble run trying to scrape together a few thousand points with a basic pair suddenly spirals completely out of control. You might pick up a Joker that gives you an x3 multiplier for every face card discarded, then find a planet card that buffs your straight, and then grab another Joker that doubles your entire score if you have exactly four cards left in your hand. Before you know it, the addictive nature of wanting to complete that puzzle pushes your scoring into the absolute stratosphere. You will find yourself playing a single pair of twos and watching the score ticker fly into the millions, then the billions, and occasionally even the trillions. The game loop tricks your brain into treating poker hands like puzzle pieces, and the ultimate reward for solving that puzzle is seeing numbers climb to absurd, astronomical heights that make no logical sense for a standard 52-card deck.
It also helps that the presentation is absolutely spot-on for this type of experience. The user interface is clean and easy to read, which is crucial when you have fifteen different modifiers happening at once and your score is rocketing into the billions. The visual style has a retro, slightly gritty CRT vibe to it that feels mysterious and cool. But the real standout is the sound design. The tactile thwack of the cards hitting the table, the escalating, hypnotic hum of the music as your score multiplier climbs higher and higher, and the incredibly satisfying sound of a massive score being calculated all tie the experience together perfectly. It is a game that feels incredible to just interact with on a moment-to-moment basis.
In a modern gaming landscape that is increasingly obsessed with massive scale, Balatro feels like a beautiful breath of fresh air. The game doesn’t rely on hyperrealistic graphics using the latest game engines with all the bells and whistles that has made game development as expensive, if not even moreso, than the biggest Hollywood blockbusters, but also made their development years in the making. Instead, it leans entirely into the simplicity of its look paired with incredibly complex mechanics under the hood. This brilliant design choice has made it incredibly easy to release on pretty much every platform from every game console, PC and mobile platform. You don’t need a pricey rig to run it; you just need a screen and a functioning brain to appreciate the sheer depth of its systems.
Balatro is a masterclass in game design. LocalThunk took something as simple and universally understood as a deck of playing cards and turned it into a sprawling, deeply strategic, and infinitely replayable roguelike. It takes the best parts of deck-builders and marries them to the instantly recognizable framework of poker, resulting in a game that is easy to learn but nearly impossible to put down. Playstack has an absolute monster hit on their hands here, and I can confidently say that if you have even a passing interest in card games, strategy games, or just games with incredibly tight gameplay loops, you owe it to yourself to play Balatro. Just make sure you do not have anything important to do for the next few days, because once this game gets its hooks in you, it will not let go.
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 Tubi!
This episode, Zack does some research on his family tree. Things are about to get supercringey.
Episode 2.12 “Running Zack”
(Dir by Don Barnhart, originally aired on November 24th, 1990)
Ms. Wentworth (Carol Lawrence), who is a slightly less sociopathic version of Ms. Bliss, has assigned everyone to do a report on their family tree. She hands out grades based on what people discover about their family’s past. I’m not sure if that’s really a good idea. What if someone comes from a family that doesn’t have any dark secrets? And really, if your family did have a dark secret, what business is it of Ms. Wentworth’s?
Lisa reveals that her family escaped slavery and then helped over slaves escape as well. “My family calls the Underground Railroad the original Soul Train,” she says.
Jessie discovers that her family was made up of slave traders. Jessie proceeds to have a breakdown, even though Lisa says that Jessie shouldn’t feel responsible for anything that her ancestors did. To a lot of people, that probably sounds like common sense but it’s also the type of sentiment that now gets you cancelled on Bluesky.
Screech reveals that he’s Italian and his ancestors were all great lovers. “What is mi grade?” Screech asks. “A!” Ms. Wentworth says with a dramatic flourish.
We never learn about Slater’s family tree, despite the fact that, along with Lisa, he’s one of the few characters who is obviously not a generic white person. However, we do learn about Zack’s family background. Looking through the family records, he finds one picture of an Indian. Zack promptly declares himself to be a Native American. However, when Zack can’t even answer a few basic questions about his family’s background, Ms. Wentworth threatens to flunk him. But if Zack flunks, how will he compete at the track meet!? Bayside has never beat Valley …. in track, at least.
Ms. Wentworth sends Zack to meet Chief Henry (Dehl Berti, who, unlike Mark-Paul Gosselaar, actually was of Native American ancestry), an American Indian who apparently lives in a cluttered shack. Chief Henry takes one look at the picture and is able to identify Zack’s ancestor by name. He also gives Zack the name “Running Zack.” He helps Zack to appreciate his Native heritage. And then Chief Henry promptly dies offscreen.
Zack isn’t sure that he can run in the track meet. He’s feeling pretty depressed about the death of the old man he met twice. Chief Henry’s ghost appears to Zack and tells him to run because beating Valley is obviously the most important thing. Zack agrees to go to the track meet and Henry vanishes. Zack’s Native American ancestry is never mentioned again.
This episode is the equivalent of those old DNA test commercials where an extremely white person would say that their DNA test revealed that they were 2% Native American and that it had changed their entire life. As I rewatched it for this review, I couldn’t help but think about Elizabeth Warren, whose claims of Native American ancestry were even flimsier than Zack’s. I found myself thinking about the fact that there’s actually a name — Pretendian — for generic white people who try to be more interesting by falsely claiming Native heritage. What’s funny is that Mark-Paul Gosselaar’s actual heritage — Dutch and Jewish on his father’s side, Indonesian on his mother’s side — is actually pretty interesting. But, in this episode, it’s revealed that Zack is Nez Perce. (Though the tribe isn’t named, Zack’s ancestor is described as being one of Chief Joseph’s main warriors.)
Gosselaar used to refer to this as being his favorite episode of Saved By The Bell. In 2016, he changed his tune and said that the episode actually was insensitive to Native Americans. Gosselaar’s correct about that. Even after Ms. Wentworth tells Zack that his original presentation was disrespectful to the memory of his ancestor, she still calls him “kimosabe.” At no point does Zack show any curiosity as to why he had never heard much about his Native ancestry to begin with. And, needless to say, it’s never mentioned again. Like, ever. Seriously, I had a friend who, in 2007, discovered that she was 98% European and 2% North African and she hasn’t shut up about it in nearly 20 years.
The main problem with this episode is that Chief Henry conveniently dies off-screen, despite there not being any indication that he was in any way unhealthy. We never learn what Henry died of. Instead, he shows up long enough to teach Zack a lesson and then he dies so that the show doesn’t have to worry about bringing him back in the future. Zack declares that he might not run the track meet. Ms. Wentworth sobs. Well, at least Ms. Wentworth actually knew Chief Henry. Zack really seems like he’s just being performative about it.
Myself, I’m Irish on my father’s side and Italian/Spanish on my mother’s side. I would have definitely gotten an A in Ms. Wentworth’s class.
Austin City Limits (PBS)
I watched an episode of this show on Saturday morning. My musical tastes pretty much start and end with EDM. Sorry, Austin.
Big Brother 28 (24/7, CBS, Paramout+, Pluto TV)
I’ve been sharing my thoughts on the show that I love to hate over at the RealityTVChat Blog. Feel free to leave a comment over there because, right now, the blog is not quite living up to the chat part of the name.
The Larry Sanders Show (HBOMax)
It’s a funny show and it helps to ease my anxiety. I’ve watched quite a few episodes this week.
Rogue’s Gallery (NightFlight+)
I watched an episode about John Dillinger on Friday. Now there was a handsome bank robber!
Saved By The Bell (Tubi)
Running Zack! I’ll be posting a review of this week’s episode in a bit.
Survivor 50 (CBS, Wednesday Night)
CBS has been re-airing Survivor 50 after episodes of Big Brother. I missed Survivor 50 when it first aired and I’m still struggling to get into it right now. I prefered Survivor when it was only an hour long. I have ADHD so asking me to concentrate for 90 minutes is a bit much.
Watched And Reviewed:
Welcome to 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 Baywatch, which ran on NBC and then in syndication from 1989 to 2001. The entire show can be viewed on Tubi.
This week, Eddie suffers a serious injury.
A quick note, before we begin: this episode was actually the 16th episode to air during the second season but apparently, it was originally meant to be the 13th episode and, in reruns, it usually airs after the Reunion episode. I’ve decided to go with the production order for the purpose of these reviews. Of course, it really doesn’t matter because it’s not like Baywatch had any use for continuity to begin with.
Episode 2.13 “Now Sit Right Back and You’ll Hear a Tale”
(Dir by Douglas Schwartz, originally aired on February 24th, 1992)
After rescuing a jet skier who ran out of fuel in the middle of the ocean, Eddie and Shauni discover a previously unchartered island. (Or, at least, that’s what we’re told. The beach that Eddie and Shauni explore is obviously the same beach from last week’s Reunion episode.) On the beach, they find Gilligan (Bob Denver) and Mary Ann (Dawn Wells), who have been stranded on the island ever since the 60s. Eddie and Shauni take them back to civilization.
Captain Thorpe is so impressed with Gilligan and Mary Ann’s story that he decides that he’s going to start his own media company and produce a miniseries about their life on the Island. He also thinks that it would be a good idea to go back to the island and rescue the other castaways. (Gee, you think?) He arranges for a three-hour expedition to the island. Garner will serve as the skipper. Eddie will be the first mate. Harvey is coming along as a professor, for some reason. Shauni wants to star in the miniseries so she decides to dress up like a movie star and come on the tour as well.
Uh-oh, there’s a storm! Everyone ends up washed up on the island. Eddie finds himself torn between Mary Ann and Shauni but then he realizes that Gilligan is the one who truly loves Mary Ann….
No, I’m not making this up. Stop it, I swear I’m not.
Eventually, Eddie wakes up in Baywatch Headquarters. It turns out that he slipped and hit his head earlier and the entire episode has been a dream. (Shocker!) It sound like Eddie probably has a severe concussion but no one seems to be too concerned about that.
Hasselhoff appears for a few minutes at the start and the end of the episode. Apparently, he knew better than to board the boat.
Oh God, this episode. Well, actually, this episode makes sense once you learn that Douglas Schwartz (who both directed this week and also served as executive producer of the show) was the nephew of Sherwood Schwartz, the producer of Gilligan’s Island. It’s a silly episode but Baywatch is a silly show so that’s to be expected. The episode’s main mistake is that it opens with Eddie watching an episode of Gilligan’s Island and then it shows us Eddie slipping and hitting his head. As a result, we pretty much know the whole episode is a dream from the start and we spend the entire episode waiting for Eddie to wake up. It’s kind of boring.
Next week …. oh, who knows? I’m sure it’ll be something involving a lot of slow motion running on the beach.
British director J. Lee Thompson was born on August 1, 1914. He directed some classics in the early 60’s, movies like THE GUNS OF NAVARONE (1961), where he received an Oscar nomination for Best Director, and the original CAPE FEAR (1962), which I personally consider superior to Scorsese’s 1991 remake. Gregory Peck, who starred in both films, once said there were only four directors he could trust to tell him whether or not he was faking his performance: Alfred Hitchcock, George Cukor, William Wyler and J. Lee Thompson. High praise indeed!
When the British film industry began caving in at the end of the decade, Thompson moved into Hollywood productions and continued to work steadily for the next couple of decades. He worked on films in all genres, like westerns (MACKENNA’S GOLD – 1968), science fiction (CONQUEST OF THE PLANET OF THE APES – 1972) and horror (HAPPY BIRTHDAY TO ME – 1981). After Thompson retired in 1989, he would sometimes lament that he had “sold out” his individual artistic desires in order to just keep working. But he would never be too hard on himself, because he enjoyed making movies and always brought professionalism and competence no matter the movie.
The main reason I like J. Lee Thompson is because he would make 9 films with actor Charles Bronson from 1976 to 1989. With Thompson as director, you knew the film would always have a certain level of quality, and Bronson loved his fast, no-frills method of shooting. In celebration of Thompson’s 112th birthday in cinema heaven, I thought it might be fun to provide my ranking of those 9 films. So here we go!

Coming in at #9 is MESSENGER OF DEATH (1988). Thompson is at his best during the incredibly tense and vicious opening sequence, but the script ultimately can’t keep the momentum going, and it’s one of Bronson’s more boring films. On some positive notes, it’s a different kind of movie for Bronson, more of a whodunnit than a straight action film. It has a strong cast, filled with veterans like John Ireland, Jeff Corey, and Trish Van Devere. It also has some beautiful Colorado scenery.

Next up at #8 is CABO BLANCO (1980). After years of poor video releases, Kino Lorber released the film on a special edition Blu-ray in 2016, which highlights how Thompson was able to capture the natural beauty of the Mexican locations. Bronson gives a committed performance as Giff Hoyt. The casting of legends like Jason Robards and Fernando Rey, in a fantastically corrupt turn, are a big plus as well. Unfortunately, the film’s script and story never really come together and the end doesn’t make much sense.

Coming in at #7 is KINJITE: FORBIDDEN SUBJECTS (1989). This would be Thompson’s final film, and he goes out with a slick and sleazy thriller. In my opinion, KINJITE contains one of Bronson’s stronger Cannon performances, but the subject matter is particularly dark and ugly, with themes of child exploitation, human trafficking, sexual violence, and prejudice. I think it’s a good film, but you definitely need a bath afterwards. Juan Fernandez is odd and memorable as the villainous pimp, Duke.

For #6, I’m going with DEATH WISH 4: THE CRACKDOWN. After the bonkers outrageousness of DEATH WISH 3, Thompson took the reins from Michael Winner for this entry, and delivered a much more straightforward action film. There is so much action in DEATH WISH 4, and the oilfield shootout contains some of Bronson’s more iconic imagery of the 80’s. The film was a huge renter at the video store, the most successful of the entire franchise in that department. John P. Ryan is also gleefully over the top as the bad guy.

At #5, I’m going with THE WHITE BUFFALO (1977). This western has grown on me over the years. Thompson is able to pull strong performances out of Charles Bronson and Will Sampson in the lead roles of Wild Bill Hickok and Crazy Horse. Combined with John Barry’s musical score, he’s able to give the film an eery, otherworldly quality with each appearance of the white buffalo. The film may have bombed at the box office, but it’s pretty darn good movie.

At #4, I’m going with THE EVIL THAT MEN DO (1984). I’m especially appreciative of Thompson for his work on Bronson’s final badass hitman film. The original director, Fielder Cook, was fired and Thompson was brought in at the last minute with very little prep time. He was still able to deliver a violent, brutal thriller. This one has its rough moments, but I’ve always liked Bronson as the amoral instrument of justice. And his down-low takedown of the giant sexual predator in the slimy Mexican bar is one of the more memorable scenes in any action film!

Heading into the top 3, I’m going with ST. IVES (1976) at #3. In Thompson’s first movie with Bronson, he delivers a fun, little mystery thriller. I particularly enjoy Bronson’s performance as Ray St. Ives. He seems to always have a smile on his face as he makes his way through the various Los Angeles locations. With definitely less action than your average Bronson film, I enjoy the change of pace as well as the excellent supporting cast of veteran actors like John Houseman, Jacqueline Bisset, Maximillian Schell, Harry Guardino, Harris Yulin, Dana Elcar and Michael Lerner. Heck, Jeff Goldblum and Robert Englund even show up as some henchmen. This is Bronson at the peak of his movie stardom.

At #2, I make an extremely personal choice with MURPHY’S LAW (1986). While the film is definitely an 80’s Cannon time capsule, this is one of two movies that kicked off my lifelong obsession with Charles Bronson, with the other being DEATH WISH 3. Thompson keeps the action moving efficiently from one set piece to another as Jack Murphy and Arabella McGee (Kathleen Wilhoite) try to figure out who is framing him for the murder of his stripper ex-wife. Carrie Snodgress is enjoyably nuts as the bad lady. Not only have I watched this movie dozens of times, I have been blessed to meet the film’s composer (Val McCallum) and interview Murphy’s partner (Robert F. Lyons). This movie is just special to me in ways that critical analysis can never capture.

And at #1 in my list of Bronson-Thompson collaborations, I choose the 1983 tough cop/slasher hybrid TEN TO MIDNIGHT. Charles Bronson is particularly strong as Leo Kessler, the veteran detective and dad who will go to any length to bring down a vicious, impotent killer of women, played brilliantly by Gene Davis. It has one of the best and most controversial endings of Bronson’s career. I give credit to Thompson for delivering an entertaining thriller that would appeal to an audience outside of Bronson’s normal fanbase. 10 TO MIDNIGHT would be a major player on premium cable channels like HBO. When I met my wife, she didn’t know who Bronson was, but she knew the film and loved it. Even though he was already an aging action star, the success of this movie propelled Bronson’s theatrical leading man career to the end of the 80’s.
Thanks for all the memories, J. Lee. Your films have been an endless source of entertainment for me for over 40 years! Rest in peace, sir

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 Wes Craven’s Invitation to Hell, starring Susan Lucci and Robert Urich!
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! 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!
Today’s song of the day is Bernard Herrmann’s main title track for one of J. Lee Thompson’s best films, 1962’s Cape Fear.
Seeing as how he was born in the month of August, this seems like a good time to pay tribute to Tom Laughlin, the actor who revolutionized independent American cinema through his Billy Jack films.
In four films, Laughlin played Billy Jack, an American Navajo, a former Green Beret, a veteran of the Vietnam War, a hapkido master, and a man who just protects children and other living things. When he first appeared in 1967’s The Born Losers, he was protecting a woman from bikers. In 1971’s Billy Jack, he was protecting the Freedom School from ignorant townspeople. In 1974’s The Trial of Billy Jack, he was …. well, in that film, Billy Jack did a little bit of everything but the National Guard still ended up destroying the Freedom School. Finally, in 1977’s Billy Jack Goes To Washington, Billy was appointed to the United Stated Senate because what else are you going to do with someone who has killed a tremendous amount of people over the course of three films?
(Of course, in Senator Jack’s defense, they were all bad people.)
Laughlin not only starred as Billy Jack but he also directed all four of the films and, starting with Billy Jack, he also handled the distribution of them. A huge box office hit, Billy Jack is considered to be a seminal counter culture film. The other three films are a bit less acclaimed and Trial of Billy Jack is often cited as one of the most pretentious and self-indulgent films ever made. But, regardless of their individual artistic merits, all of the Billy Jack films share an appealing mix of sincerity and silliness. Laughlin was a good actor and, visually, he was a stronger director than he was often given credit for. Some of the shots in the original Billy Jack are breath-taking. At a time when even self-styled progressive films still portrayed women in the most condescending and demeaning way possible (check out Getting Straight or R.P.M., if you dare), the Billy Jack films were as much about Jean (played by Delores Taylor, Laughlin’s wife and creative partner), the founder of the Freedom School, and her beliefs, as they were about Billy Jack and his struggles to accept pacifism. If nothing else, the Billy Jack films featured actual conversations and debates about actual ideologies and philosophies, as opposed to the usual shallow Hollywood politics. Unfortunately, Laughlin was also a heavy-handed storyteller and a terrible editor. The Trial of Billy Jack goes on for three hours.
And yet, of all the Billy Jack films, The Trial of Billy Jack is my favorite. It’s just so weird that it’s hard not to like it. It’s a film that doesn’t really work but, at the same time, you can’t help but appreciate all the effort that was put into it. Whatever else you might be able to say about him and his films, it’s obvious that Tom Laughlin truly did think that the movies could make a difference. There’s an aching sincerity to Laughlin’s work that pretty much cannot be found in the majority of today’s films.
In honor of Laughlin’s birthday and his legacy, here’s a scene that I love from The Trial of Billy Jack. In this scene, Billy goes on a vision quest and experiences the Three Levels. I would be lying if I said I really followed much of the logic in the scene but at least we get to see Billy hit a hippie professor. Billy also smacks Jesus, which isn’t cool but Jesus shows exactly how to handle that type of belligerence and hopefully, he provides a lesson for us all.
Learn about the Three Levels, with Billy Jack. And be sure to spare a thought for the hard work of Tom Laughlin.