Review: My Name


“I’m not afraid of dying. I’m afraid of not knowing the truth.” — Yoon Ji-woo

My Name is one of those K-dramas that grabs your attention from the start and maintains a relentless pace throughout. It is a gritty, action-packed series set in a dark, unforgiving underworld marked by crime, betrayal, and a driving quest for revenge. The story follows Yoon Ji-woo, a young woman whose life is shattered when her father, a figure tied to the mob, is brutally murdered. What unfolds is her transformation from a grieving daughter into a formidable and determined fighter intent on uncovering the truth behind her father’s death and exacting vengeance.

The series does not shy away from depicting violence in an unflinching manner. For those who appreciate intense and well-choreographed fight scenes, My Name provides a visually and emotionally striking experience. The physicality Han So-hee brings to her role is notable, lending authenticity to every punch, fall, and desperate struggle. However, the violence serves a narrative purpose beyond mere spectacle; it illuminates the bleak world Ji-woo inhabits and the extreme sacrifices demanded of her.

A particularly compelling aspect of My Name lies in its combination of emotional depth and action. Ji-woo is not portrayed as a simple avenger consumed by rage, but rather as a complex individual wrestling with grief, guilt, and profound loneliness. Han So-hee’s nuanced performance effectively balances raw toughness with moments of vulnerability, inviting viewers to engage with Ji-woo on a deeply human level despite her morally ambiguous actions.

The narrative unfolds briskly across eight episodes, avoiding the typical padding seen in many K-dramas. This lean structure maintains a consistently high level of tension as Ji-woo infiltrates the police force undercover on behalf of the criminal organization responsible for her father’s death. The tension arising from this double life—living between two opposing worlds—heightens the drama, creating an ever-present question of trust and betrayal.

This theme of undercover infiltration shares notable similarities with renowned thrillers such as Infernal Affairs and its American remake The Departed. Like those films, My Name explores the psychological strain of agents embedded within enemy organizations, examining shifting loyalties and blurred moral boundaries. Yet, My Name distinguishes itself by focusing intimately on Ji-woo’s personal journey of vengeance and identity. While Infernal Affairs and The Departed emphasize the intricate duality and game of cat and mouse between multiple undercover agents, My Name offers a singular, emotionally charged narrative driven by Ji-woo’s transformation both physically and mentally through relentless trials.

Supporting characters enrich the story further. Detective Pil-do serves as a humanizing counterpoint to the harshness of Ji-woo’s world. His relationship with Ji-woo adds emotional complexity to the story, gently probing themes of trust and moral conflict. The enigmatic crime boss Mu-jin, who mentors Ji-woo, embodies a pragmatic and often manipulative figure, complicating the traditional distinctions between good and evil with a nuanced portrayal.

Visually, My Name excels in creating a brooding and atmospheric setting, with evocative use of shadow, rain, and urban neon lighting that reinforces the noir tone. The haunting soundtrack complements the tension and emotional undertones, underscoring both frenetic action and quieter character moments with equal effectiveness.

That said, the drama’s heavy focus on violence and its dark tone may not appeal to all viewers. The unrelenting grimness and lack of lighter moments could prove challenging to those who prefer more varied emotional rhythms. Furthermore, some secondary characters are not as fully developed as they might be, which occasionally makes subplots feel less integral. Still, the tight focus on Ji-woo’s narrative keeps the drama paced and impactful without unnecessary distractions.

A central thematic strength of My Name is its exploration of identity. Ji-woo’s undercover infiltration prompts profound questions about the self: how much of her original identity can she retain while adopting false personas dictated by survival and revenge? This internal struggle adds a psychological depth that elevates the series beyond a straightforward revenge thriller, inviting reflection on trauma, loyalty, and selfhood.

The pacing is expertly managed, neither rushed nor weighed down by extraneous elements, culminating in a satisfying and emotionally resonant conclusion. The series even incorporates moments of romance late in the narrative, adding subtle layers of hope and human connection to balance the dominant themes of loss and revenge.

In sum, My Name distinguishes itself through Han So-hee’s powerful performance, its raw and realistic action sequences, and its willingness to grapple with complex emotional and moral questions. It is a compelling option for viewers drawn to intense, character-driven thrillers that refuse easy answers while delivering visceral storytelling.

If you are seeking a drama that explores the cost of revenge with both physical intensity and psychological nuance, My Name offers a gripping experience from beginning to end. It acknowledges its influences—such as Infernal Affairs and The Departed—but forges a unique path grounded in Korean drama sensibilities and the deeply personal story of its lead character. Its unyielding tone and evocative storytelling make it a memorable entry in contemporary Korean thrillers.

Late Night Retro Television Review: 1st & Ten 2.5 “California Freeze Out”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing 1st and Ten, which aired in syndication from 1984 to 1991. The entire series is streaming on Tubi.

Victory’s yours …. for that taking….

Ugh, let’s do this.

Episode 2.5 “California Freeze Out”

(Dir by Bruce Seth Green, originally aired on September 22nd, 1986)

Training camp continues!

Oh, Good Lord, does it continue.

And look, I get it.  This was a low-budget show that relied on stock footage for the majority of its game footage.  There was probably only so much footage available.  Not every episode could feature a game.  And training camp is an important part of football and I’m sure that, back in 1986, HBO was proud of that set they built for the ugly bar where all the players hang out.  It’s not a bad set.  You look at it and you can literally smell the rancid combination of sweat and urine that seems to follow most male athletes.

But seriously …. I’M TIRED OF TRAINING CAMP!  Its time to move on!

As for this episode …. hey, Waldren is already back from rehab and he’s clean!  That was quick.  However, shady quarterback Johnny Valentine continues to hang out with drug dealers and Waldren gives into temptation.  He ends up at a raucous drug party that’s busted by the cops.  Waldren jumps out of a window.  His date is accidentally shot.  You might think that Johnny Valentine would be in trouble considering how anti-drug the league has become but it turns out that Johnny is a star and busting him would effect ad revenue.  So, Johnny gets off scot-free.

Meanwhile, O.J. Simpson — whoops, sorry, I meant to say T.D. Parker, don’t hurt me, Vengeful Spirit of O.J. — recruits a young player named Rick Lambert (Marcus Allen) to be the team’s new running back.  Marcus Allen gave such a stiff performance that I immediately realized that he had to have been an actual player and it turns out that I was right.  You can always tell the actual players because they’re the ones who can never summon up any emotion when they stumble through their lines.  O.J. was the epitome of a player who became a bad actor but he came across as being …. well, not quite Olivier but maybe David Niven, while acting opposite Marcus Allen.  Maybe that’s why Allen was added to the cast, to make O.J. look good.

Anyway, here’s hoping that O.J. and the rest of the Bulls slash their way out of training camp soon!

Retro Television Review: The Love Boat 6.26 “The Professor Has Class/When The Magic Disappears/We, The Jury”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

The Love Boat promises something for everyone!

Episode 6.26 “The Professor Has Class/When The Magic Disappears/We, The Jury”

(Dir by Richard Kinon, originally aired on April 2nd, 1983)

I sent a message to my friend Jason, letting him know about this week’s episode of The Love Boat.

“This week’s episode featured a Van Patten and a Van Dyke!” I wrote.

He wrote back, “Two Dicks?”

“No, one Dick and a Barry.”

Dick Van Patten plays The Great Stellini.  He’s upset that his daughter (Mary-Margaret Humes) wants to marry Joey Gardiner (Barry Van Dyke), a novice magician.  The Great Stellini thinks that Joey wants to steal all of his tricks.  His daughter teaches Stellini a lesson by actually disappearing during their stage show.  Stellini is humiliated but he learns an important lesson about letting go and also supporting younger magicians.

Meanwhile, Anne Meara played Jerry Stiller’s former landlady.  Anne was using Jerry for damaging her property.  Gopher decided that a jury made up of the crew should decide the case.  Huh?  Why?  That makes no sense.  But you know what?  Anne Meara and Jerry Stiller were so cute together that it didn’t really matter.

Finally, a 91 year-old professor (Sam Jaffe) was upset to discover that one of his former students (Bettye Ackerman) was going to replace him.  Luckily, everyone fell in love.  Sam Jaffe was one of the great character actors and it was kind of nice to see him on this show, acting opposite his wife, Bettye Ackerman.  This was Jaffe’s final performance and he had a twinkle in his eye.  He seemed to be having fun.

This was a pleasant cruise!

Late Night Retro Television Review: Pacific Blue 3.6 “Sandman”


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, the bicyclists continue to get in everyone’s way.

Episode 3.6 “Sandman”

(Dir by Terrence H. Winkless, originally aired on Sept. 21st, 1997)

A hitman named Robert “Sandman” Enright (John Michael Bolger) has been released from prison.  Because Enright was previously arrested by TC, TC decides to start harassing him as soon as he gets out of jail.  For a bunch of dorks on bikes, the Pacific Blue folks sure do enjoy abusing their power.

Anyway, Sandman is out for revenge against the three men who framed him.  And, since TC is tailing him everywhere, Sandman is able to manipulate TC into basically becoming his bodyguard.  The main theme of this episode is that TC is an idiot.

Speaking of idiots, Cory’s boyfriend, FBI Agent Tim Stone (David Lee Smith), confessed that he was thinking of getting back together with his ex.  With Chris’s support, Cory fought for her man.  Myself, I just struggled with the fact that Stone, TC, Palermo — and their actors, Smith, Jim Davidson, and Rick Rossovich — all basically looked like the same guy at different stages of his life.

Finally, Palermo, TC, and Victor played volleyball!  That was at the end of the episode and it went on for a while.  The whole scene felt like the show’s way of saying, “Hey, remember when Rick Rossovich was in Top Gun?  That was cool.”

As usual, this episode featured a lot of tough talk and intense looks, all of which were negated by the presence of grown-ups on bicycles.  Even when TC was spying on the Sandman, he did while sitting on his bicycle.  It just looked dumb.

Retro Television Review: Fantasy Island 7.18 “Mermaid and the Matchmaker/The Obsolete Man”


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.  The show is once again on Tubi!

This week, an acquaintance returns to the Island.

Episode 7.18 “Mermaid and the Matchmaker/The Obsolete Man”

(Dir by Philip Leacock, originally aired on March 24th, 1984)

Nyah (Michelle Phillips) is back!

Okay, maybe you don’t remember Nyah.  This  is Nyah’s first appearance since the fourth season.  In between the last time that Michelle Phillips played Nyah and her resurfacing in this episode, Phillips played five other characters on Fantasy Island.

So, to refresh your memory, Nyah is a mermaid.  During seasons three and four, she tried to tempt men to their death in the ocean and she was presented as being a friendly enemy of Mr. Roarke’s.  In this episode, however, Nyah is a bit nicer.  She’s not malicious as much as she’s just immature.  Roarke, for his part, treats her like a wayward teenager.  Nyah has a fantasy, of course.  She’s tired of being immortal and she wants Roarke to make her a mortal.  Roarke says that he can’t do that.  “You’re the only man who understands immortality!” Nyah says.

Nyah wants to die but instead, Roarke plays matchmaker and arranges for her to meet Duke McCall (Dennis Cole), a sailor who believes in mermaids.  He doesn’t have any issue with Nyah being a mermaid but Nyah, having fallen in love with him, fears that Duke will drown if he tries to pursue her.  Fortunately, for everyone involved, Duke turns into a merman.  Don’t ask me how these things work.  I’m just glad that Roarke didn’t have to kill anyone.

Meanwhile, banker Mitchell Robinson (Bert Convy) fears that he’s going to be replaced by a computer.  Charlene Hunt (Gloria Loring) claims that her computer is just as good at checking loan applications as any human.  She stages a competition between the computer and Mitchell.  Mitchell tries to explain to the computer that it’s important to judge people not just on their credit rating but also their body language.  This somehow causes the computer to explode and Mitchell keeps his job.

“Yay!” viewers in 1984 cheered, “computers will never replace us!”  HA!  Joke’s on you, Mitchell Robinson!

Seriously, you don’t have to tell me about the dangers of a fully automated world.  A.I. is fun for making silly images but it’s going to ultimately lead to a lot of people believing a lot of false things.  But Mitchell was so smug about beating the computer that I’m kind of glad that he still probably lost his job a few years later.  You can’t stop the march of technology, Mitchell!

As for this trip to the Island, the computer storyline didn’t really go anywhere but I did enjoy Michelle Phillip’s return as Nyah.  She and Ricardo Montalban had an enjoyable chemistry and it was fun to watch them bicker.  This week’s episode was uneven but, thanks to Michelle Phillips, it was still more enjoyable the most of what we’ve seen for the seventh season.

Late Night Retro Television Review: CHiPs 4.21 “A Special Operation”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

This week, the fourth season comes to an end.

Episode 4.21 “A Special Operation”

(Dir by Leslie H. Martinson., originally aired on May 17th, 1981)

Season 4 comes to an odd end with A Special Operation.

Getraer is injured when he crashes his motorcycle.  He takes a piece of metal to the face and he nearly loses his eyesight.  Luckily, the abrasive but brilliant Dr. Patterson (James Sloyan) is able to save both Getraer’s eye and his ability to see with it.  However, the idealistic young Dr. Rhodes (A Martinez) worries that Patterson may have missed something.  Can Patterson set aside his ego long enough to listen to his younger colleague?

Hey, wait a minute, isn’t this CHiPs?

I don’t have any way to prove this but there’s a part of me that strongly suspects the season finale of CHiPs was also a backdoor pilot for a medical show.  So much time is spent with Patterson, Rhodes, and the nurses at the local hospital that it just feels like there was some hope that viewers would call in and demand to see more of Dr. Rhodes.  A Martinez even gives a very Erik Estrada-style performance in the role of Rhodes.

Speaking of Estrada, he’s barely in this episode.  (Ponch, we’re told, is preparing for to testify in a big court case.)  It largely falls to Jon Baker to stop the assassin (Eugene Butler) who has been hired to try to take Getraer out of commission.  This, of course, leads to the assassin stealing an ambulance and Baker chasing him.  The ambulance flips over in slow motion but somehow, the assassin survives to that Baker can arrest him.

It was a strange end for a season that’s largely been dominated by Erik Estrada and his performance as Ponch.  (Larry Wilcox, I will say, looked happy to have the finale to himself.)  For the most part, Season 4 was an uneven season.  The writing so favored Estrada over Wilcox that the show sometimes felt like it was turning into a parody of itself.  The show that started out about two partners on motorcycles became a show about how Ponch could literally walk on water and do no wrong.

Next week, we start season 5!

Retro Television Review: Miami Vice 5.6 “Line of Fire”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show can be purchased on Prime!

This week, Crockett and Tubbs are assigned to protect a witness.

Episode 5.6 “Line Of Fire”

(Dir by Richard Compton, originally aired on December 16th, 1988)

Carlos Cantero (Aharon Ipalé) is on trial for murdering Ian Sims, one of Crockett’s confidential informants.  Crockett is the number one witness against him, which is a problem because Crockett just spent the last few months under the impression that he was Sonny Burnett, one of Miami’s biggest drug dealers.  Cantero’s defense attorney dismantles Crockett’s testimony by pointing out that Crockett had a “psychotic breakdown.”

(And you know what?  The attorney is actually very correct about that.  Crockett acts shocked when his mental health history is brought up but why wouldn’t it be?)

Luckily, there is an eyewitness to the murder of Ian Sims.  The FBI asks Crockett and Tubbs to keep an eye on Keith (Justin Lazard), a heavy metal fan who is willing to testify against Cantero.

I have to admit that I nearly gave up on this episode because my first impression of Keith was that he was the most annoying character to ever appear on a television show.  However, I’m glad that I didn’t because this episode actually introduced a very clever twist.  Keith is not actually Keith.  Instead, he’s DEA agent Joey Hardin, who has been assigned to pretend to be Keith to keep Cantero from going after the real Keith.  It turns out that FBI Agent Bates (Kevyn Major Howard, the “Do you believe in Jesus?” guy from Death Wish II) is crooked and he’s giving information to Cantero.

Unfortunately, Crockett doesn’t find out the truth until Joey has already been shot multiple times by Bates.  (Tubbs and Crockett proceed to gun down Bates.)  Joey nearly dies while the prosecutor chortles about how all of this is actually going to help him get a conviction.  It turns out that the prosecutor doesn’t know what he’s talking about.  The real Keith is now too terrified to testify against Cantero, leading to Cantero going free.  Joey does recover from being shot but, at the end of this episode, it’s hard not to feel that it was all for nothing.

This is one cynical episode!  But that’s okay.  Miami Vice was always at its best when it was being cynical and this episode is a throwback to old school Vice, back when the emphasis was on how no one could trust anyone and the government was often its own worst enemy.  Miami Vice was definitely a left-wing show but occasionally, it did reveal a libertarian streak.  That was certainly the case with this episode, in which the war on drugs is portrayed as being unwinnable because the government is naturally incompetent.  Young idealists like Joey Hardin are sent off to battle and are ultimately abandoned once they’re no longer needed.

This was a good episode.  I’m still having a hard time buying that Crockett could just go back to being a cop after being Miami’s top drug lord but whatever.  It’s the final season.  I’ll suspend my disbelief a little.

A Scene That I Love: The Final Scene of Band of Brothers


I defy you not to tear up at the final scene of HBO’s 10-hour tribute to the soldiers who fought in World War II, Band of Brothers.  In this scene, we learn what happened to the surviving members of Easy Company after the war and we are reminded that World War II was fought by men from all walks of life who were all united by one greater purpose.

All of the men depicted in this miniseries are gone now.  The last surviving member of Easy Company died in 2022.  But, thanks to Band of Brothers, their heroism will never be forgotten.

Miniseries Review: Death by Lightning (dir by Matt Ross)


Death by Lightning, a four-episode miniseries that recently dropped on Netflix, tells the story of two “forgotten men,” as the show itself puts it.

Michael Shannon plays James A. Garfield, the Ohio farmer and former Congressman who, despite attending the 1880 Republican convention solely to give the nominating speech for Secretary of Treasury John Sherman (Alistair Petrie), found himself nominated for President after the convention found itself deadlocked between supporters of Former President Grant (Wayne Brett) and Senator James Blaine (Bradley Whitford).  Garfield did not want to run for President and he certainly did not want to run with Chester A. Arthur (Nick Offerman), an associate of New York political boss, Roscoe Conkling (Shea Whigham).  However, in November of 1880, James Garfield was narrowly elected the 20th President of the United States.

Matthew MacFayden plays Charles J. Guiteau, a failed lawyer and self-proclaimed newspaper publisher who felt that a stump speech he had given at a small rally was responsible for Garfield’s victory.  Guiteau expected to be appointed to a position in the Garfield administration, perhaps as Consul to France.  In those days of no Secret Service protection and an open White House, Guiteau was one of the many random office seekers who managed to get a face-to-face meeting with Garfield.  What Guiteau did not get was a job.  While Guiteau may have deluded himself into thinking that he was an inside player, everyone else viewed him as being a pesky and disreputable character.  On July 2nd, 1881, Guiteau shot Garfield in the back.  After Garfield died in September, Guiteau was convinced that he would be pardoned by the newly sworn-in President Arthur.  Instead, Guiteau was hanged on June 30th, 1882.

(It’s now generally agreed that Guiteau was such a bad shot that Garfield would have survived his wounds if not for the incompetence of his doctors, who probed his wounds with their bare hands in an effort to extract the bullet.  Garfield died as a result of multiple infections caused by his medical treatment.)

Again, Death by Lightning describes Garfield and Guiteau as both being forgotten men.  That’s not quite true.  I knew who both of them were before I watched the miniseries but then again, I’m also a history nerd.  As much as I don’t want to admit it, it is true that the majority of today’s Americans don’t know either Garfield or Guiteau.  And yet, in 1881, America revolved around them and their fate.  Everyone checked every day for news on Garfield’s health and Guiteau’s trial was heavily covered by the press.  That’s something to remember whenever you hear people talking about how “history will remember” whatever may be happening in the news today.  History may remember but people are quick to forget.

As for Death by Lightning, it does a good job of telling not only the stories of Garfield and Guiteau but also Chester Arthur as well.  The miniseries takes place at a time when political machines dominated American politics and also at a time when the Spoils system and the widespread corruption that it engendered were both accepted as immutable political realities.  Guiteau, having spent his life seeing other people receive jobs for supporting the right candidate, felt that he was naturally entitled to whatever position he requested.  Guiteau’s actions actually did lead to reformation of the Spoils system, with President Arthur emerging an unlikely reformer.  Never again would a random office seeker by allowed through the front doors of the White House and never again would a President casually walk around Washington D.C. without some sort of guard.  With a smart script, good performances, and even a few moments of unexpected cringe humor, Death by Lighting recreates that moment in American history and it pays tribute to James A. Garfield, who was universally described by his contemporaries as being a decent man who was struck down before he could reach his full potential.

How historically accurate is Death by Lightning?  That’s a fair question.  Death by Lightning sticks to the established facts about Garfield and Guiteau but a scene in which Garfield’s daughter argues with him about immigration is undoubtedly meant to be more of a commentary on 2025 than 1880.  I think it can be argued that no film or series can be 100% historically accurate because those who actually witnessed the events in question are no longer with us.  Inevitably, the past is always viewed and recreated through the filter of the present.  And indeed, it is tempting to compares Garfield and Guiteau to our modern-day politicians and activists.  Guiteau, with his constant excuses for his own dumb decisions and his ranting and raving about how he speaks for the people, was a particularly familiar character.  As for the modest and honest Garfield, it’s sadly difficult to think of any modern-day politicians from the same mold.

As a final note, my favorite part of this miniseries occurred during the first episode.  The recreation of the 1880 Republican Convention is wonderfully entertaining.  It’s amazing to think that, in the days before television coverage required political conventions to become carefully choreographed and tightly controlled, there actually was legitimate suspense about who would end up being nominated.  Sadly, those days seem to be over.

MAN WITH A CAMERA (TV Series) – starring Charles Bronson – S1, E7: Another Barrier


Originally airing on November 28th, 1958, “Another Barrier” opens with free-lance photographer, Mike Kovac (Charles Bronson), in the middle of the California desert working on a photo layout of Major Sandy Dickson (Grant Williams), a hotshot U.S. Air Force pilot who’s in the process of testing the latest X-2 plane. Kovac wants to follow Sandy around for a couple of days leading up the next big test flight, which means he also gets to meet Sandy’s fiancé, Liz (Norma Crane). While having dinner with the couple, Kovac sees just how scared and worried she is about her lover’s dangerous job. Sandy later confides to Mike that Liz has had bad luck with the “men in her life,” in this case being her father and her brother, who both died tragically years earlier. It seems she thinks her love is a curse, and now she’s afraid she’s going to pass it on to Sandy. Maybe she has a point, because on Sandy’s next test flight, his X-2 goes down, losing contact with the control tower ninety-four seconds after being released from its mothership B-50. With the rescue teams looking for Sandy, and with his survival chances being somewhere between slim and none, Kovac tells Liz what happened, and then takes her back to her apartment. Believing it’s her fault that Sandy’s plane went down, as soon as she gets her chance, Liz crawls out on the balcony of the top floor of her multi-story apartment complex. Kovac begins to try his best to convince her not to jump, to at least find out for sure if Sandy is dead or alive. But will anything work on a woman who’s convinced she’s a curse?!

This review may surprise some of my readers, but I didn’t really enjoy this episode at all. I didn’t like its entire concept. I enjoy episodes of the series where Kovac’s pictures help solve crimes, or he’s getting to mix it up with bullies and bad guys. This episode is just melodrama, and boring melodrama at that. Okay, so Sandy loves his job and Liz, and he wants Liz to accept the danger of his job, but she just seems to be a scared and anxious ball of emotions waiting around for him to die. And all Kovac does is take some pictures, listen to Sandy go on and on about Liz, and then beg Liz not to jump once everyone thinks he’s as dead as a doornail. Boring! About the only mildly amusing thing that happens is when Kovac convinces Sandy that a picture of a pilot in his long johns is just what the layout really needs. Boring AND kinda creepy! And I know that Norma Crane is a fine actress, having recently reviewed her episode of ALFRED HITHCOCK PRESENTS: “There Was an Old Woman,” where she also works with Bronson. They were good together in that episode, but neither have anything to work with when it comes to this story. She’s sad and wants to die, and he’s worried and doesn’t want her to jump. The characters barely know each other, having only met the day before, and the drama does not play out convincingly at all. Grant Williams is likewise boring as the “hot shot” Sandy Jackson. If the Air Force wanted to feature a pilot, they should have probably found one with at least a little bit of personality. I’ve always said that I love Bronson so much that I’d pay to watch him read the phone book. Good Lord willing, this episode is the closest I’ll ever get to seeing that happen.

There was one interesting thing that I noted while watching “Another Barrier,” and that’s the connection that its plot shares with a movie that Charles Bronson would star in a few years later, X-15 (1961), the theatrical debut of director Richard Donner. In X-15, which includes narration by the legendary James Stewart, Bronson plays an Air Force pilot with the dangerous job of testing X-planes, and Patricia Owens is his wife who’s worried about him back at home. It’s not one of Bronson’s best, and frankly, it’s kind of boring too. There may be a great movie or show about X-plane test pilots out there. I just know they don’t star Charles Bronson!