Retro Television Review: Homicide: Life On The Street 4.10 “Full Moon”


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, Kellerman and Lewis head to a motel.

Episode 4.10 “Full Moon”

(Directed by Leslie Libman and Larry Williams, originally aired on April 5th, 1996)

If you go back and look over my reviews of Homicide, you might notice that the dates don’t always add up.  Last week’s episode aired at the start of January of 1996.  This week’s episode aired in April.  That’s because, when this show originally aired on NBC, the network did not adhere to the production order.  For instance, the show’s producers intended for Blue Moon to be the 10th episode of season 4.  NBC, however, decided to air it later in the season, as the 17th episode..  For the purposes of these reviews, I am following the production order as opposed to NBC’s order.

(Production order is also the order the was used when Homicide was released on DVD,)

As for this episode, it’s a bit of a change of pace.  For one thing, the episode centers on Lewis and Kellerman, with some assistance from John Munch.  The rest of the squad goes unseen as Lewis and Kellerman investigate a murder at a cheap motel on the outskirts of the Baltimore city limits.  As a result, the vibe of this episode is a bit less intense than the Pembleton/Bayliss episodes.  Lewis and Kellerman were far different detectives from Pembleton and Bayliss.  Whereas Pembleton and, at times, Bayliss often seemed to be on a holy crusade, Lewis and Kellerman were just doing their job.

That works for this episode, which is really more of a mood piece than a typical detective show.  An ex-con is shot and killed at a motel.  Lewis and Kellerman investigate the crime and meet the collection of eccentrics who work and live at the motel.  A large family of illegal immigrants lives in one small room.  A prostitute swims naked in the pool.  (Of course, Kellerman finds time to talk to her.)  The motel night clerk is studying for a better life.  The Reverend Horton Heat appears as a preacher.  The victim’s next door neighbor is an ex-con who stays at the motel because it feels like a prison.  This episode is full of slow and moody images and it’s far more of an examination of life on the fringes than a standard episode of Homicide.

Lewis does talk about his youth, growing up in the projects of Baltimore.  At the end of the show, he watches as the apartment building where he grew up is destroyed by controlled demolition.  The watching crowd cheers.  Lewis says, “Wow,” and then grabs a brick.  Meanwhile, the desperate characters at the motel go on with their eccentric lives.

This episode was a welcome change-of-pace, a noirish mood piece that showcased the teamwork of Clark Johnson and Reed Diamond as Lewis and Kellerman.  After the intensity of the sniper storyline, it was nice to just sit under the moon and watch things unfold.

Horror Scenes That I Love: Dick Miller In The Howling


A true scene stealer, the character actor Dick Miller was a Navy veteran who earned a Phd in psychology, even while he was already appearing on stage.  His 1952 move from New York to California was originally so that he could pursue a career as a writer.  Instead, he ended up becoming one of the most beloved members of Roger Corman’s stock company.  (Famously, in 1952’s Apache Woman, he played both a Native American and the townsperson who shot him.)  Many of the directors who started their careers under Roger Corman continued to cast Dick Miller in their own films, keeping Miller busy as a character actor.  Miller worked with everyone from Martin Scorsese to Joe Dante to James Cameron to Steven Spielberg to Jim Wynorski.  Miller often played characters named Walter Paisley, a reference to his first starring role in Corman’s A Bucket of Blood.

In this scene from 1981’s The Howling, Dick Miller lets two reporters know what’s truly going on with the werewolves.

October True Crime: Karla (dir by Joel Bender)


When it comes to true crime cases, few are as disturbing as the story of Paul Bernardo and Karla Homolka.

Paul and Karla were a young, married couple who lived in Ontario.  They were both attractive.  They were both popular.  They were both superficially charming, in the style of someone who you might have taken a class with but the only thing you can really remember about them is their smile.  And they were both killers.  Paul Bernardo, a wannabe rapper who had previously made his money by smuggling cigarettes and who was also a serial rapist, murdered at the least three teenage girls, including Karla’s sister, Tammy.  When Paul was arrested, Karla told prosecutors that she had helped Paul with his murders but only because he threatened and abused her.  Prosecutors, perhaps moved by a picture that Karla’s friend took of her bruised face after one of Paul’s beatings, made a deal with her for her testimony.  In return for testifying against Paul Bernardo, Karla was convicted only of manslaughter and given a 12-year prison sentence.  (She was 23 at the time and would only be 35 when released from prison, assuming that she served the full sentence.)  However, during the trial, video tapes of the murders were uncovered and showed that Karla had been a far more active participant in the murders than she had originally admitted.  That included the murder of her sister, Tammy.

There were calls to rescind Karla’s plea bargain and to try her for murder but since her plea bargain had only required her to provide enough evidence to convict Paul, it was ruled that she had upheld her end of the bargain.  While Paul Bernardo is currently serving his life sentence, Karla Homolka is now free and living somewhere in Canada.

Needless to say, the case drew international attention, both due to the circumstances of Karla’s plea bargain and also to Paul and Karla’s image of being the “Ken and Barbie Of Serial Killers.”  It’s a case that continue to haunt Canada, an example of how the accused was ultimately treated with more respect than the victims.  For her part, Karla continues to claim that it was all Paul and that she was forced into helping.  Paul claims that he and Karla were equal partners and that the actual murders were all committed by Karla.  Personally, I think they’re both lying.

2006’s Karla stars Laura Prepon as Karla Homolka.  The film opens with her already in prison and being interviewed by a psychiatrist (Patrick Bauchau) who has been assigned to determine if there’s a risk of her reoffending.  As Karla tells her story, we see flashbacks of Karla’s life with Paul (Misha Collins).  Prepon and Collins are both chillingly believable as the soulless Paul and Karla.  Laura Prepon plays Karla as being a narcissistic sociopath who is incapable of understand that she’s not the victim in this story.  I imagine that Prepon’s performance probably captures the essence of the real Karla, even if Prepon doesn’t really look like her.

That said, the film itself is largely a surface level exploration of the case.  The film’s script attempts to maintain some ambiguity as to whether or not Karla Homolka was a voluntarily participant in the murders or if she actually was just too scared of Bernardo to stop him.  Prepon plays her as being a sociopath but the script still tries to play both sides of the debate and, as a result, the film falls flat.  The film may be called Karla but it doesn’t really get into her head and, as a result, it has all the depth of an Investigative Discovery special.  In the end, the film feels like it’s trying to exploit the notoriety around a famous case without taking a firm position on the case’s biggest controversy.  When it comes to the crimes of Karla Homolka, that’s not an option.

Horror Song of the Day: Bad Moon Rising by Creedence Clearwater Revival


by Erin Nicole

Today’s song of the day is one that was used so memorably in An American Werewolf In London.  From Creedence Clearwater Revival, here is Bad Moon Rising.

Bad Moon Rising

I see a bad moon rising.
I see trouble on the way.
I see earthquakes and lightning.
I see bad times today.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

I hear hurricanes a-blowin’.
I know the end is comin’ soon.
I feel rivers overflowin’.
I hear the voice of rage and ruin.

Don’t go around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.
Alright!

Hope you got your things together.
Hope you are quite prepared to die.
Looks like we’re in for nasty weather.
One eye is taken for an eye.

Well, don’t go round tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

Don’t come around tonight,
Well, it’s bound to take your life,
There’s a bad moon on the rise.

4 Shots From 4 Horror Films: 1950s Part One


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we look at the start of the 1950s.

4 Shots From 4 Horror Films

The Strange Door (1951, dir by Joseph Pevney)

The Strange Door (1951, dir by Joseph Pevney)

The Black Castle (1952, dir by Nathan H. Juran)

The Black Castle (1952, dir by Nathan H. Juran)

The Maze (1953, dir by William Cameron Meznies)

The Maze (1953, dir by William Cameron Meznies)

House of Wax (1953, dir by Andre De Toth)

House of Wax (1953, dir by Andre De Toth)

Horror On The Lens: Teenage Caveman (dir by Roger Corman)


Future serious actor Robert Vaughn made his film debut in 1958’s Teenage Caveman.  Directed by Roger Corman, Teenage Caveman tells the story of a rebellious young man (that’s Robert Vaughn) who chooses to defy his father’s warnings and venture beyond the caves and into “the forbidden zone.”  He’s told that monsters roam in the forbidden zone and indeed, at least one of them does.  However, neither the Teenage Caveman nor his father are prepared for what lies at the heart of the forbidden zone.

(What will he find out there, Dr. Zaius?)

Robert Vaughn later said that, out of all the bad films that he made, this was the worst.  Personally, I think he was being a bit too hard on the film.  It’s not good but it is definitely fun.  Along with watching all of the dinosaur stock footage, you get to wonder how a caveman — especially a teenage caveman! — could possibly have such perfect hair.  Even more importantly, if you stick with it, this film has a twist ending that has to be seen to be believed.

Here is Teenage Caveman:

 

October Positivity: Allison’s Choice (dir by Bruce Marchiano)


In 2015’s Alison’s Choice, Chanel Marriott plays Alison.

Alison is a teenager who has a difficult relationship with her father.  He holds back his emotions from her.  She’s been left feeling insecure as a result and is perhaps a bit too dependent upon validation from other men.  For instance, her no-good boyfriend, Rick (Julian Alexander), bullies her into having sex in his tiny car.  When Alison later discovers that she’s pregnant, Rick’s response is to tell her to get rid of it.  He tells her to go find a clinic and have an abortion and then talk to him later.  Rick makes it clear that he will not paying for the procedure.  He also leaves it up in the air as to whether or not he’ll even come to the clinic to support Alison.

Classy guy, that Rick.

At the clinic, Alison finds herself having doubts.  Does she really want to get an abortion?  The clinic’s rather harsh and antiseptic atmosphere doesn’t make things any easier.  One nurse (Liz Randall) tries to pressure Alison to go through with her abortion.  The doctor (Britt Prentice) confesses that he can’t guarantee that abortion isn’t murder.  At the front desk, Ms. Glo (Bunny Gibson) asks Alison is she’s really sure she wants to go through with the procedure.  A pushy social worker named Marta (Amy Lydon) assures Alison that it’s not big deal.  Lecretia (Alicia Monet Caldwell) makes fun of Alison for being a first-timer.

And, of course, Jesus (Bruce Marchiano) shows up as a janitor and encourages Alison not to get an abortion.  Actually, he encourages everyone all over the world not to get an abortion and, whenever anyone does, he starts crying.  He says that he’s been working as a janitor since 1973.  That, of course, was the year of Roe v Wade.

Bruce Marchiano has played Jesus in a number of films.  He played Jesus in The Encounter, which is something of a guilty pleasure of mine.  Marchiano has a calm and soothing voice and his eyes tend to radiate kindness, which makes him a good choice to play Jesus.  From what I’ve seen of him in various faith-based productions, he’s not a bad actor at all.  He can deliver his lines without looking straight at the camera and he’s capable of showing emotion.  By the standards of many faith-based films, that makes him almost Brandoesque.

Unfortunately, Alison’s Choice is so heavy-handed and awkwardly acted by everyone else in the cast that Marchiano’s characteristically good and empathetic performance can’t really save it.  I’m not going to get into the specifics of whether or not the film is correct about abortion, beyond saying that this is not a film that is going to change anyone’s mind about the issue.  It’s a heavy-handed pro-life tract.  (Then again, there’s also been more than a few heavy-handed pro-choice tracts.)  What I will say is that Alison, as a character, is so indecisive and, quite frankly, annoying that it didn’t take me long to lose interest in her.  Even after she becomes convinced that she’s actually talking to Jesus, she still can’t decide whether or not she loves her boyfriend.  Girl, Jesus just told you that your boyfriend is no good.  I don’t care what anyone thinks about abortion.  If Jesus suddenly shows up and tells you to dump your boyfriend, you do it.

Eh.  I’m going to go watch The Encounter again.

Late Night Retro Television Review: Good Morning Miss Bliss 1.13 “The Mentor”


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 Good Morning, Miss Bliss, which ran on the Disney Channel from 1988 to 1989 before then moving to NBC and being renamed Saved By The Bell.  The entire show is currently streaming on Prime!

This week, we close out the Miss Bliss years.

Episode 1.13 “The Mentor”

(Dir by Gary Shimokawa, originally aired on March 18th, 1989)

For some reason, Miss Bliss’s mentor — James Lyman (Robert Donner) — shows up at the school to visit his favorite student, Carrie Bliss.  (Apparently, the very British Miss Bliss grew up in Indiana.  I’m not saying it’s not possible, as her parents could have come over when Miss Bliss was still young.  That said, it just seems odd that no one — not even her students — ever mention anything about Miss Bliss being British.  It would seem like something Miss Bliss would have mentioned during all of those lessons about the Constitution and American history.)  Mr. Lyman is retired but he agrees to substitute for Miss Bliss while she spends a week doing paperwork.  (Most teachers would probably just have to suck it up and both teach and do paperwork during the week but not our Miss Bliss!)

This is one of those annoying episodes where Mr. Lyman is the unconventional teacher who gives the kids free hall passes and takes them on extended field trip without getting permission beforehand.  Mr. Lyman makes learning fun!  (Gag!)  Miss Bliss gets upset because Mr. Lyman isn’t following her lesson plan and Mr. Lyman basically accuses Miss Bliss of being a sellout.  For once, I’m on Miss Bliss’s side here.  Mr. Lyman is a substitute.  His job is to follow the lesson plan.  If Miss Bliss doesn’t want him to handing out hall passes, that’s her right.  It’s her class!  And this whole thing of trusting the students not to abuse the hall pass?  I would have totally abused a free hall pass.  Everyone would abuse a free hall pass!  I would laughed at any teacher dumb enough to give me a free hall pass.  It’s almost as if the people who wrote this episode had absolutely no knowledge of how teenagers think.  In the end, Mr. Lyman comes across as being an unlikable crank.  The episode ends up with dressing up like Abraham Lincoln and showing up, unannounced, in Miss Bliss’s classroom.  Seriously, someone call the cops on their weirdo.

Meanwhile, Nikki worries that boys don’t see her as being feminine.  Lisa teachers her how to wear makeup.  Next year, maybe Nikki and Zach….

Oh, wait a minute.  Sorry, Zach, Mr. Belding, Screech, and Lisa are all moving to California.  Nikki, Mickey, Miss Bliss, Ms. Palladino, Mylo are staying in Indiana.  The Mentor was the final episode of Good Morning, Miss Bliss.  The Disney Channel canceled the show but producer Peter Engel took some of the cast over to NBC and launched Saved By The Bell.  The Miss Bliss episodes would later be repackaged for syndication with Zach saying, “I remember this time in Junior High…..”  I remember changing the channel whenever I realized a Miss Bliss episode was starting.

We’ll start Saved By The Bell next week.  Finally, the tyranny of Miss Bliss is over.

Lisa Marie’s Week In Television: 10/5/25 — 10/11/25


Abbott Elementary (Wednesday Night, ABC)

Eh.  I’m not really interested in Melissa’s adventures as a sixth grade teacher.  As well, Tariq really hasn’t been amusing since the end of the first season.  I worry this show is reaching the “treading water” phase of its existence.

Hell’s Kitchen (Thursday, Fox)

After a week of commercials that implied the police would be showing up at Hell’s Kitchen to arrest one of the chefs, this week’s episode featured the cops showing up at Hell’s Kitchen so the chefs could make them breakfast.  I wasn’t really surprised.  Hell’s Kitchen has always been shameless about doing stuff like that.  That’s actually a part of the show’s appeal.  As for this week’s episode, everyone appears to be remarkably incompetent.  I wouldn’t accept a meal from any of these people.

Law & Order (Thursday Night, NBC)

Another week, another murder.  Once again, Maroun was upset over having to do her job.  The law half of this show is usually pretty good but the order half is awful.  Nolan is such a wimp.  Maroun should have been fired the first time she ever suggested allowing a criminal to go free.

Ozark Law (Hulu)

I guess this show ran on A&E earlier this year.  I watched the first episode on Hulu.  It was a reality show about cops in small town Missouri.  They had to deal with a bunch of people hanging out at the lake for the Fourth of July weekend.  It was the usual stuff.  The cops arrested a woman for having an expired license.  A man’s house was burglarized.  The male cops were all heavily tattooed and bearded.  The female cops all looked like the hyper-religious girl from high school who would judge you for wearing a short skirt.  All the cops had that terse cop way of speaking.

The Prisoner (Nightflight Plus)

Jeff and I watched the final episode of this 60s show on Friday night.  I’ll miss Rover.

Special Force: World’s Toughest Test (Fox, Thursday Night)

Jussie Smollett has left the show so what even is the point now?