Retro Television Review: Miami Vice 5.9 “Fruit of the Poisoned Tree”


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!

Retro television reviews returns with Miami Vice!

Episode 5.9 “Fruit of the Poisoned Tree”

(Dir by Michelle Manning, originally aired on February 3rd, 1989)

Crockett and Tubbs are trying to take down a drug dealer named Enriquez (Jeffrey Meek) but every time that they think they’ve got the guy, his shady lawyer, Sam Boyle (Stephen McHattie), is able to use a technicality to get the case tossed.  Even sending Gina in undercover backfires as Gina’s cover gets blown and a bomb meant for her kills an innocent 13 year-old instead.

Crockett thinks that Sam and his associate, Lisa Madsen (Amanda Plummer), have evidence that could put Enriquez away.  Crockett puts pressure on Lisa to become a confidential informant but Lisa is devoted to Sam.  Lisa’s father was a crusading anti-drug prosecutor who was stabbed to death and Sam has promised that he will do everything within his power to prove that her father was actually assassinated by a drug cartel.

Of course, there’s some things that Lisa doesn’t know.  Sam is heavily involved in the drug trade himself and he’s currently in debt to gangster Frank Romano (Tony Sirico, bringing some nicely realistic menace to his role).  Sam plots to double cross Enriquez to get the drugs necessary to pay off Frank.  Plus, it also turns out that Sam is the one who had Lisa’s father killed.

When Lisa (and hey, that’s my name!) finds out the truth, she uses her legal training to seek her own revenge.  Enriquez has been arrested due to evidence that Lisa gave Crockett.  But when Lisa reveals herself to have been Crockett’s informant, the case is tossed because Lisa violated attorney/client privilege.  This frees up Enriquez to kill Sam right before Sam gets onto a private plane that would have taken him to freedom.  The episode ends with Enriquez getting arrested yet again and Lisa staring down at Sam’s dead body.

This was a pretty good episode, especially considering that it aired during the final season.  It feels like a throwback to the first two seasons, where the morality was always ambiguous and pretty much no one got a happy ending.  Lisa may have gotten revenge for the killing of her father but she did it by arranging the murder of  a man who she had spent years worshipping.  The Vice Squad takes down a drug dealer but not before an innocent boy is murdered.  The only reason that they’re going to a conviction this time is because they actually witnesses Enriquez killing Sam Boyle.  Otherwise, the case probably would have gotten thrown out again.

Miami Vice was always at its strongest when it examined futility of the war on drugs.  There’s a lot of money to found in the drug trade and there’s always someone willing to step up and replace anyone who the Vice Squad actually manages to take down.  This episode may end with Enriquez defeated but there’s no doubt that someone else will step into his shoes.

Lisa Marie’s Week In Television: 12/28/25 — 1/3/26


Bar Rescue (Fave TV, weeknights and weekends)

I watched two episodes on Friday night.  One took place at a champagne bar in Philadelphia.  The other was at a Detroit jazz club.  I’m never surprised to learn that most of these places ended up closing, even after Jon Taffer’s makeover.  Would you want to eat or drink at a place that was featured as being incredibly dirty and vermin-infested on television?

On Saturday, I watched an episode in which Jon Taffer helped out a surly sports bar owner.  Why are the owners of sports bars always so surly?  I then watched another episode featuring a bar that was home to a wild racoon.  After that episode, I then discovered that Fave TV was doing a Bar Rescue marathon and I ended up watching several episodes that followed.  As I watched, I was reminded that I would be both a terrible bartender and a terrible waitress.  It’s a good thing that I decided to spend my life watching movies instead.

Dallas Cowboy Cheerleaders: Making The Team (Fave TV, weeknights)

After Erin and I finished watching one of the Perry Mason movies on Friday, we watched an episode of this reality show on Fave TV.  Everyone was very smiley.  I was just happy because it was filmed in Dallas so I could spend the whole show going, “Hey, I was right outside that building earlier today!”

The Danny Thomas Show (MeTV+, Weekend Afternoons)

I watched an episode of this show on Saturday, largely because I was trying out the new remote control for the TV in my home office.  Danny Thomas was about to go on tour in Europe so comedian Jack Carter agreed to cover Danny’s nightclub show in the states.  Danny got jealous when he saw how much the audience loved Jack.  It made me laugh.

Dirty Pair Flash (Night Flight Plus)

On Friday night, I watched an episode of this often baffling anime.  The episode was about the pair playing beach volleyball.  I’m not sure why.  There was a lot of yelling involved.

Murder, She Wrote (Start TV, Weekend Mornings)

I woke up on Saturday and watched two episodes of this old show.  The first episode featured Elliott Gould arresting the wrong person and Angela Lansbury setting him straight.  The second episode featured Angela Lansbury speaking straight to the camera and telling us about some other detective, who was played by Ken Howard and who solved a murder involving a former football player.

New Year’s Eve Celebrations (Everywhere, Wednesday Night)

At my BFF Evelyn’s New Year’s Eve party, we flipped through and past many different televised celebrations.  We stopped to watch Andy Cohen and Anderson Cooper get drunk on CNN.  For the most part, though, we didn’t stick with anything for very long.  We had celebrating of our own to do!

Rose Bowl Parade (NBC, Thursday Morning)

I watched a bit of the Rose Bowl parade.  Watching a parade on television is never as much fun as watching it in person.

Saved By The Bell: The New Class (Prime)

Seriously, this show is perfect for my insomnia.  It lulls me to sleep.

Miss You After Goodbye, ReelShort Film, Dir. Ruixi Royce Gao


Happy New Year! I am always on the cutting edge of everything that is both terrible or great. Over Horrorthon, I reviewed A LOT of AI generated short films. I believe that we not far out to seeing a total change in how films are made. We are also seeing a change in how films are consumed- especially terrible ones. Reel Shortz and Dramabox (Dramabox might be a pirate outfit) is part of that transition. Reel Shortz is a Chinese company where they make TERRIBLE movies and break them up into bits and charge tokens that you buy with real money to keep watching the story. How you watch the film is just as different as how you pay for it: it’s designed to be watched on your phone- no letterbox. It sounds stupid, but stupid can make money- Just look at Francis Beto.

Does this sound like Temu Warner Bros.? Yes it does and YES IT IS! Also, if the title “Miss You After Goodbye” sounds like google translate- it is! The movie is terrible from the p@rn quality acting to the clunky/stupid dialogue, but they generated 700 Million in 2025; so, we will see A LOT more of this! I’m not saying whether I watched this film by buying their tokens or saw it on dailymotion, but I did watch it and howled with laughter at the unintentional comedy while I was on the elliptical!
With this lead up, you’re wondering how bad was this film? Oh, this film made Birdemic look like a masterpiece.

The plot is that Neil Wade an astrophysicist/astronaut marries his mentor’s daughter, Keira Thorne for five years, in exchange for his college tuition. His mentor believed that Keira needed a husband because her boyfriend broke up with her and she was sad. Keira does not know this transaction took place and marries Neil and treats him like garbage from day one. For some reason, he wears this outfit from 18th Century Cobblers Weekly – Ed Gein collection.

Neil falls for Keira, but she is so awful that he leaves her and accepts a mission to mars with NASX. Yes, NASX!

The main villain of the story is Simon who is Keira’s first love. Simon looks like what China believes our villains look like.

Keira does not believe that Neil has left her for real. She does not understand that Neil is not some boring house husband! No, Neil’s a ROCKETMAN!!!

Yes, Neil is the next Neil Armstrong! The first man to set foot on Mars, but no one knows what he looks like, which is both normal and possible. Keira keeps looking for Neil on Earth, but he’s gone Far…. Far… Away… Chirpy Chirpy Cheap Cheap…..

When Neil returns, Keira goes insane, Simon tries to kill Neil, there is no security at NASX, and Neil marries Elon Musk’s daughter. Yes, that all takes place in the last 4 minutes of the film.

The future is not always bright, but this shows that there is a market for serialized feature length storytelling; so, a mediocre script would be like Apocalypse Now by comparison to what is being churned out! How people make and consume films is changing and the days of the movie theater are OVER! Hollywood is likely over. One positive for Reel Shortz is this: the film used living actors and not AI generated ones.

Review: Fallout (Season 2, Episode 3 “The Profligate”)


“If you think everyone else is the bad guy, chances are, you’re the bad guy.” — Lucy McLean

Episode 3 of Fallout season 2 takes a deliberate breath after the season’s earlier frenzy, shifting focus to simmering tensions and the cracks forming within key factions. It trades some high-octane action for deeper dives into moral gray areas and character dilemmas, while sprinkling in plenty of nods to the game’s lore that will thrill longtime fans. The result is an episode that feels more introspective than explosive, building quiet dread that hints at bigger fractures ahead without fully detonating them just yet.

The spotlight falls heavily on Caesar’s Legion this time around, turning their rigid hierarchy into a pressure cooker of internal strife. Lucy finds herself right in the thick of it, her wide-eyed vault dweller optimism clashing hard against a group that views compromise as heresy. Hanging in the balance between rival power plays, she becomes a symbol of the wasteland’s brutal tug-of-war, where diplomacy often looks more like desperation. It’s a tough spot for her character, one that tests her limits and forces some uncomfortable reflections, though the episode spends more time on the surrounding politics than her personal evolution at first.

The Ghoul shines in his signature blend of cynicism and cunning, navigating a high-stakes deal that underscores his “ends justify the means” survival code. His interactions with NCR remnants carry that dry, world-weary edge, laced with flashbacks that keep peeling back layers of his pre-war life under influences like Vault-Tec and figures from New Vegas lore. These moments aren’t just backstory—they tie directly into his current ruthlessness, showing how old betrayals and power games echo into the irradiated present. It’s the kind of character work that makes his choices feel earned and uneasy, never fully heroic or villainous.​

Meanwhile, Maximus’s path with a Brotherhood superior veers into unexpectedly dark territory, blending camaraderie with the order’s uglier underbelly. What starts as armored antics at a familiar Nuka-Cola site uncovers dilemmas about who gets to claim “civilization,” hinting at rifts that could shake the Brotherhood to its core. His arc builds to a tense crossroads, mirroring the Legion’s own divisions and raising questions about loyalty in a world where ideals curdle fast. It’s a smart parallel that keeps the episode’s themes cohesive without feeling forced.

Guest spots add some unexpected flair, like Macaulay Culkin’s turn as a Legion figure whose quirky menace fits the faction’s cultish vibe perfectly. He brings a bureaucratic fervor to the role, emphasizing how the Legion ritualizes its brutality right down to succession squabbles over key artifacts. These cameos feel organic, enhancing the world rather than stealing focus, and they nod to the games’ eccentric cast without overwhelming the main threads.

Pacing-wise, this hour simmers more than it boils, which might test viewers craving constant momentum. Lucy’s predicament holds steady for a stretch, the Ghoul operates in the shadows, and Maximus’s detour unfolds gradually before tensions spike. That restraint pays off by letting atmosphere build—the Legion camp’s stark crosses and sun-scorched decay capture the series’ horror-Western mashup beautifully. Locations like Camp Golf and NCR outposts evoke New Vegas nostalgia, but twisted into symbols of faded glory, reinforcing the show’s point that no empire endures unscathed.

For game fans, the episode is a treasure trove of subtle references, from Legion dynamics to Securitron teases, woven in ways that serve the plot rather than just fan service. Newcomers won’t feel lost, as the context emerges naturally through dialogue and fallout from prior episodes. Visually, it’s peak Fallout: practical effects make the wasteland feel lived-in and lethal, with practical power armor clanks and irradiated horrors that pop off the screen.​​

By the later beats, the episode starts hinting at shifts in the power balance, leaving characters at pivotal junctures without spelling everything out. Lucy grapples with harsh realities that could harden her edge, the Ghoul’s gambit ripples outward in unpredictable ways, and Maximus faces choices that test his place in the Brotherhood. These teases set up a powder keg for the back half, where alliances fray and the wasteland’s chaos might force some reluctant team-ups or betrayals.​​

All told, episode 3 delivers a balanced mix of lore love, character depth, and atmospheric tension, even if its slower gear occasionally mutes the thrill. Strengths like the Ghoul’s layered flashbacks and faction parallels outweigh any mid-episode lulls, making it a solid bridge that primes the pump for escalation. In a season already nailing the games’ spirit, this one reminds us why Fallout endures: beneath the satire and shootouts lies a grim meditation on humanity’s stubborn flaws.

Lisa Marie’s Week In Television: 12/21/25 — 12/27/25


A Charlie Brown Christmas (Apple TV+)

It wasn’t such a bad little tree.  You can read Erin’s thoughts on this classic here.

Equal Justice With Judge Eboni K. Williams (Tubi)

I watched an episode on Sunday.  A woman was suing her former friend for smelling like marijuana when they got pulled over for failing to use their turn signal in Texas.  The patrolman searched their car, found even more weed, and issued both of them citations.  The woman felt that the friend should pay her ticket because the patrolman wouldn’t have searched the car if she hadn’t smelled like weed.  The friend pointed out that the patrolman wouldn’t have stopped the car in the first place if the woman has used her turn signal.  Personally, I didn’t think the woman really had a case because it was her car and she knew the marijuana was there even before she was pulled over.  Judge Williams partially agreed, ruling that the friend should only have to pay half of the woman’s ticket as opposed to the entire ticket.

Saved By The Bell: The New Class (Prime)

This continues to be my go-to cure for insomnia.

The Simpsons (Disney+)

I watched two Christmas episodes.  In one, Bart got caught shoplifting.  That one made me cry.  The second one featured Gil moving in with The Simpsons.  “Eggs a la Harold Stassen, because they’re always running.”  That made me laugh.

Review: Fallout (Season 2, Episode 2 “The Golden Rule”)


“Empathy is like mud. You lose your boots in that stuff. Folks been screaming for two hundred years.” — The Ghoul

Fallout season 2, episode 2, titled “The Golden Rule,” eases the series back into its wasteland rhythm with a blend of tense character moments and signature post-apocalyptic absurdity. It’s not the flashiest hour, but it builds tension steadily through moral dilemmas and faction intrigue, rewarding patient viewers with hints of bigger conflicts ahead.

The episode weaves a tapestry of power struggles and ethical compromises across its split storylines. Maximus navigates the Brotherhood’s ruthless internal games, Lucy and the Ghoul debate the cost of mercy in a brutal world, and Norman from Vault 31 leads survivors peeling back more of the pre-war conspiracy’s ugly layers. At its core, it’s about testing how long personal codes hold up when survival demands compromise, forcing characters to confront who they’re really fighting for.

Maximus’s thread packs the most immediate emotional wallop, trapping him in a brutal boxing tournament that’s equal parts ritual and execution. What starts as a show of unity ends with him forced to kill a fellow Knight under the roar of the crowd, stripping away any lingering loyalty to the Brotherhood. His face after the win—drained and distant—captures the hollowness of victory in a machine that chews up its own, turning a grunt’s ambition into quiet tragedy.

The arrival of one of the new faces, Kumail Nanjiani as the slick Paladin Xander Harkness from the Commonwealth, shakes things up right after the fight. His cocky demeanor and whispers of a brewing civil war ripple through the ranks, pulling Maximus from personal survival into something that feels like the edge of a larger schism. It’s a clever escalation that promises fireworks without tipping its hand too soon.

Meanwhile, Lucy and the Ghoul’s road trip revisits old ground, which could feel like treading water if not for the sharp dialogue and escalating stakes. Their clash over stopping to help screams familiar—they clash over optimism versus cynicism, split paths briefly, then reconvene out of necessity—but it deepens their mismatched partnership. A hospital pitstop turns sinister fast, revealing ties to a slaver faction straight out of the game’s lore, where good intentions lead straight into ambush territory.

The Ghoul’s rant about empathy weighing you down like dead weight lands with his usual bite, but Lucy’s frustration with his cryptic warnings flips the script, painting his toughness as half selfishness. Their chemistry carries it, turning repetition into a believable cycle of two scarred people circling trust. And that massive radscorpion brawl? Pure adrenaline-fueled chaos, a hulking nightmare that embodies the wasteland’s random cruelty and gives the duo a shared “not today” win.

Shifting underground, Norman delivers pitch-black satire as he guides cryogenically thawed junior executives who wake up clueless and entitled in the apocalypse. They’re all petty squabbles and status games amid the ruins, a perfect skewer of corporate rot that outlasted the bombs. His scramble for leadership mixes fumbling comedy with a poignant glimpse of awe at the surface world, humanizing the bunker farce while his companions gripe like it’s a bad vacation.

Elsewhere, the pre-war corporate angle simmers darkly, with hints that ongoing “work” stems from a deliberate architecture of doom. It’s subtler than the surface mayhem, but it reinforces the show’s thesis: the end times weren’t random fallout, but a branded catastrophe whose machinery still grinds on.

Pacing strikes a deliberate balance, advancing multiple fronts without rushing payoffs, which suits the serialized vibe but might test newcomers. It prioritizes atmosphere over non-stop action, letting ironic humor—like deadly fights dressed as bonding or doomsday treated as HR drama—bridge the quieter beats. The result feels immersive, like wandering the game’s open world rather than railroading through quests.

Visually and tonally, the episode nails Fallout‘s essence: gritty practical effects, cluttered retro-futurism, and violence that shocks without overkill. Costumes evoke lived-in lore, from power armor gleam to faction garb, while the humor undercuts horror just enough to keep it addictive.

In the end, Fallout season 2, episode 2 is sturdy groundwork that shines in its character crucibles and world-deepening touches. Maximus’s ring of fire and Norman’s Vault meltdown stand tallest, while the road warriors deliver sparks amid echoes. The radscorpion frenzy injects raw thrill, priming the pump for faction clashes ahead. Not a lone-wolf classic, but a smart piece in a sprawling puzzle—fairly balanced, casually compelling, and true to the franchise’s warped heart.

Christmas with THE ANDY GRIFFITH SHOW: S1, Ep11 – “Christmas Story”


As a tax accountant, I get pretty stressed every year from the months of January through April 15th. To help relieve that stress, I like to watch my favorite movies and TV shows on my 3rd computer screen at night and on the weekends. I don’t necessarily pay much attention to them but just having them playing so I can look over and see my favorite scenes helps me feel better. A few years ago, I ended up watching all eight seasons of THE ANDY GRIFFITH SHOW three times during tax season. There’s just something about hanging out in Mayberry that makes me happy. Today, I thought it would be fun to revisit the one and only Christmas episode of the show.

“Christmas Story” centers on Ben Weaver (Will Wright), a crotchety old scrooge of a businessman, who catches local moonshiner Sam Muggins (Sam Edwards) pedaling his illegal liquor on Christmas Eve. Ben takes Sam, and the jug full of evidence, into Sheriff Andy Taylor’s (Andy Griffith) office, where he insists that Andy and his deputy Barney Fife (Don Knotts) lock Sam up even though it’s Christmas. Andy, who’s trying to keep the peace with the important and politically connected Ben Weaver, and who still wants to have the holiday gathering he had planned with his own family, comes up with a solution. He arrests Sam’s wife and kids as “accessories” so they can spend Christmas together at the jail, and then he deputizes his girlfriend Ellie (Elinor Donahue), his son Opie (Ron Howard), and Aunt Bee (Frances Bavier) to help watch over the prisoners. Before long, the jail has turned into a Christmas party, complete with food, laughter, and singing. Everyone is enjoying themselves…everyone, that is, except Ben Weaver.

“Christmas Story” is such a good example of why I love the Christmas season and THE ANDY GRIFFITH SHOW. As the show plays out, the crotchety Ben Weaver spends most of his time spying through the windows of the sheriff’s station as everyone, including the prisoners, is having the best time. He’s clearly lonely, but his pride won’t allow him to admit that what he really wants is to be inside with the rest of them. After trying to get himself arrested a couple of times, the ever-perceptive Andy figures out what Ben is up to. He arrests him, but before he takes him to jail, he lets him stop by his store to pick up a few presents for the others. By the time of the feel-good ending, Ben Weaver has gone from bitter and lonely to generous and happy, all because Andy took the time to see past his gruff exterior.

Other than the satisfying emotional arc for Ben Weaver, there were a few other things that stood out to me while watching “Christmas Story.” First, this was the 1st season of the series, so Andy Griffith was still playing Andy Taylor much more broadly. He would eventually play his character almost completely straight to give something for Don Knotts’ standout character of Barney Fife to play against. Second, the opening scene where Andy and Barney are going through the Christmas cards that they have received, specifically one from the Hubacher Brothers who are all in the state prison, is a comic masterpiece. I laughed out loud when Barney paid off the scene with the following line while viewing the picture of three smiling brothers behind bars… “Yeah, I think it’s just wonderful that they’re all together at Christmas.” Finally, when Andy plays the guitar and duets with Ellie to “Away in a Manger,” it’s just a perfect moment, one that brings up nostalgic feelings of singing the song at church or with my own family around the holidays.

At the end of the day, “Christmas Story,” like the entire series itself, isn’t really a realistic representation of the world around us. Rather, it’s a representation of a world more like we want it to be. In Mayberry, decent people do thoughtful things for other people, for no other reason than the fact that they genuinely care. And in Mayberry, the most bitter man in town, can recognize his weaknesses and turn his life around when he’s shown a little understanding and compassion. This episode provides hope for a better future for its characters, which makes it a perfect episode to watch during the Christmas season. In some ways, isn’t that what Christmas is all about?

Holiday Scenes That I Love: Festivus Dinner From Seinfeld (NBC, 1997)


Again, Happy Festivus!

This scene is from The Strike episode of Seinfeld.  Believe it or not, it is based on a true story.  Scriptwriter Dan O’Keefe, who wrote this episode, grew up celebrating Festivus, a holiday that was created by his father.  In the real Festivus, the aluminum pole was replaced by a clock that O’Keefe’s father would put in a bag and nail to a wall.  To quote O’Keefe:

“The real symbol of the holiday was a clock that my dad put in a bag and nailed to the wall every year…I don’t know why, I don’t know what it means, he would never tell me. He would always say, ‘That’s not for you to know.'”

Enjoy!

Song of the Day: I Dreamed I Saw Jack Nance Last Night by Dumb Numbers


Eraserhead (1977, dir by David Lynch)

Today would have been the 82nd birthday of Jack Nance, the talented but troubled actor who was a favorite of David Lynch’s and who died under mysterious circumstances in 1996.  Born in Massachusetts but raised in Texas, Nance first won acclaim as a star of the stage show, Tom Paine.  The director of Tom Paine later received a fellowship to the American Film Institute where he met a young director named David Lynch and recommended that Lynch cast Nance as the lead character in his film, Eraserhead.  Lynch and Nance were kindred spirits, two all-American eccentrics with their own unique view of the world.  Lynch went to use Nance in almost every film that he made up until Nance’s death.  Nance would also appear in small roles in films from other directors, usually cast as quirky and obsessive characters.  Outside of his role in Eraserhead, Nance is probably best known for playing Pete Martell on Twin Peaks.  Pete’s discovery of Laura Palmer’s body launched the entire saga.

Twin Peaks 1.1 — The Pilot (dir by David Lynch)

 In honor of Jack’s talent and legacy, here is today’s song of the day!

Lisa Marie’s Week In Television: 12/14/25 — 12/20/25


Flight of the Conchords (HBOMax)

Murray books Bret and Jermaine for a concert at “Central Park,” but he insists that they tour first to prepare for it.  Bret continually causes havoc that Murray blames on Jermaine.  In the end, it turns out that the concert is at a central park not The Central Park.  Jeff and I watched that classic episode on Wednesday.  It made me cry a little.

Frasier (Prime)

Jeff and I watched three episodes of the original 90s version of Frasier on Tuesday.  The first episode featured Frasier getting into a war of words with a columnist who wrote a column about why hated Frasier’s radio show.  It almost led to an actual physical fight before the police intervened on the behest of Martin Crane.  (John Mahoney was a treasure!)

The second episode was “The Candidate,” in which Frasier endorses Phil Patterson for Congress, just to discover that Phil Patterson is convinced that he was abducted by aliens and taken into outer space.  The scene where a stunned Frasier attempted to record a commercial for Patteson (“the sane choice”) made me laugh so much that I almost fell off the couch.

Finally, we ended with a Christmas episode!  Frasier wants to get his young son a Christmas gift that will make him think.  Martin argues that Frasier should get him a gift that he’ll have fun with.  Frasier and Niles have to go to a mall.  The closing scene, with Martin revealing that he had purchased the gift that Frasier’s son actually wanted, made me cry.

What a great cast this show had!  Watching these three episodes, I was reminded why the revival didn’t work.  As good as a job as Kelsey Grammer did in the revival, no one wants to think of Frasier moving back to Boston and no longer having anything to do with his family in Seattle.

The Office (Peacock)

On Tuesday, Jeff and I watched several classic episodes of The Office.  We started with season 2’s Christmas Party.  Then, we watched Season 4’s Did I Stutter, followed by Season 6’s Scott’s Tots, and we followed it all up with Season 3’s The Convict and A Benihana Christmas.  I know I’ve been pretty critical of the direction that The Office eventually ended up going.  But the first three seasons were about as good as any sitcom that has ever aired and seasons 4-6, while uneven overall, still produced some classic episodes.  I will always enjoy the Christmas episodes, no matter how much that annoying actress from A Benihana Christmas whines about it.

Saved By The Bell: The Next Class (Prime)

Saved By The Bell: The Next Class continues to be my preferred background noise for when I’m struggling to get some sleep.

Seinfeld (Netflix)

On Tuesday, Jeff and I watched two Christmas episodes of this classic 90s sitcom.  We started with the episode where Elain was dating a communist and Kramer got fired from his department store Santa job because he was spreading propaganda.  Meanwhile, Jerry’s high school rival resurfaced and demanded a rematch on a race that Jerry won after getting a head start.  I loved this episode!  Everything from Jerry and George pretending to randomly run into each other at the coffee shop to the race at the end to the little kid yelling, “Hey, this guy’s a commie!”

We followed that episode with the Festivus episode.  I love the scene where Jerry Stiller (as George’s father) casually talks about seeing someone else grab the doll that he was planning to buy for his dolls.  “As I rained blows upon him, I realized there had to be a better way!”  Also, I totally would have wanted to be Submarine Captain too.  Free sub?  Give me my ticket!