Retro Television Review: Baywatch 1.4 “Message In A Bottle”


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.

Save me!

Episode 1.4 “Message In A Bottle”

(Dir by Kim Manners, originally aired on October 20th, 1989)

Hobie’s such a dumbass.

For the second time in like four episodes (and that’s not counting the pilot), the entire Baywatch team is mobilized to search for him after he goes missing.  This time, Hobie overhears Mitch and his ex-wife arguing over who should have custody of him so Hobie and two of his stupid little friends head off to an island that’s also being used by a couple of murderous modern-day pirates.

Seriously, Hobie — stuff like this isn’t going to look good when Craig is in court and trying to argue that you should stay in California with your Dad.  So far, Hobie has nearly been killed by a collapsing pier, he’s ended up getting chased by a murderer on a jet ski and, in this episode, he’s menaced by two other murderers.  It’s time to send Hobie to Indiana or some place else where there’s no ocean.

In other news, Shauni accidentally drives over Eddie’s foot so Mitch orders them to work the 24-hour shift together so that they can learn how to work as a team.  Truth be told, Eddie is  a bit of whiny punk and he definitely needs to learn how to work with other people.  That said, I think Mitch is overlo0king the fact that Shauni, a trained lifeguard, drove over someone’s foot.  (Shauni was apparently backing out and didn’t realize Eddie was behind her, which is even worse.)  Mitch finds the whole thing to be amusing and, later, Shauni has a good laugh when she nearly runs over Eddie a second time.  I don’t think any of these people should be anywhere near anyone who needs help.  Sometimes, people really should just stand in the darkness.

This episode was supposed to make me appreciate the efforts of the Baywatch lifeguards to protect the beach and to find missing kids like Hobie.  Instead, it just made everyone look incompetent and irresponsible.  Halfway through this episode, I wanted someone to get attacked by a shark.  It hasn’t happened yet but at least the show has given me something to which to look forward.

Live Tweet Alert: Watch The Howling With #ScarySocial!


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 a true classic, The Howling!

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!

 

Anime You Should Be Watching: Akira


“The future is not a straight line. It is filled with many crossroads. There must be a future that we can choose for ourselves.” — Kiyoko

Akira is a landmark anime film that has left an indelible mark on both the medium and popular culture, widely regarded as a masterpiece blending dystopian cyberpunk aesthetics with potent social and political themes. Directed by Katsuhiro Otomo and released in 1988, it is an adaptation of Otomo’s own manga of the same name, adding layers of depth from its source material. The film remains a touchstone for its groundbreaking animation, complex narrative, and deep thematic explorations that resonate decades after its release.

At its surface, Akira tells the story of a post-apocalyptic Neo-Tokyo, a city ravaged by past destruction and on the brink of chaos again due to psychic powers unleashed unexpectedly on its streets. The narrative centers around two childhood friends caught in this upheaval: Kaneda, a rebellious gang leader, and Tetsuo, whose sudden acquisition of devastating psychic abilities leads to uncontrollable transformation and societal breakdown. This conflict draws viewers into a gripping tale of friendship, power, and loss.

Beneath the action-packed plot lies a rich tapestry of themes. One of the most striking is the exploration of loss of humanity through power. Tetsuo’s descent into madness as his psychic abilities spiral beyond his control serves as a visceral metaphor for how absolute power corrupts and alienates. The transformation he undergoes, from a troubled youth into a monstrous entity, dramatizes the fear of losing oneself when faced with forces that cannot be tamed. Meanwhile, the other characters and factions, including the military and resistance groups, depict varying responses to such disruptive power, from authoritarian control to emergent heroism among society’s outcasts and delinquents, emphasizing resilience in adversity.

Akira’s setting is crucial to understanding its impact. Unlike other dystopian sci-fi that glamorizes technology, Neo-Tokyo is raw and unpolished—a place of grime, corruption, and social decay. This lack of fetishization makes the depicted world more relatable and unsettling, reflecting post-World War II anxieties in Japan. The narrative draws clear analogies between the trauma of nuclear devastation and the cyclic nature of destruction and rebirth. The film and manga respectively underline how societies can be dehumanized by catastrophe yet still harbor hope for renewal and change.

The adolescent characters also embody a universal coming-of-age struggle, where uncertainties of identity, power, and responsibility mirror Japan’s own postwar societal shifts. Tetsuo’s monstrous growth and Kaneda’s protective yet rebellious nature capture the complex emotions of fear, resentment, and desire for control, making the story as much about internal battles as external ones. This allegorical layer brings timeless relevance, inviting viewers to reflect on personal and collective growth in times of turmoil.

From a technical and artistic standpoint, Akira set new standards for animation. The film’s fluid motion, attention to detail, and atmospheric world-building were revolutionary for the time and still hold up remarkably well. Otomo’s insistence on lip-syncing dialogue and meticulous frames elevated the cinematic experience far beyond typical anime productions of the 1980s. Its high-budget production values and painstaking artistry make every scene visually immersive, from frenetic gang fights to apocalyptic psychic battles.

One of the film’s most iconic and influential moments is the “Akira slide”—the flawless and stylish maneuver where Kaneda slides his motorcycle to a perfect stop amidst a high-speed chase. This scene has become emblematic not only of Akira’s kinetic energy and visual prowess but also of the potential for animation to convey dynamic motion with a sense of weight, style, and personality. The technique has been endlessly referenced and homaged in both anime and live-action works worldwide, shaping how filmmakers portray fast-paced chase and action scenes. Its balance of fluid animation, camera angles, and character flair set a new benchmark for kinetic storytelling, inspiring generations of animators and directors to capture similar moments of cool, precise motion.

Moreover, Akira’s soundtrack and sound design contribute significantly to its gritty and intense atmosphere, reinforcing the emotional beats and tension throughout the film. The score blends pulsating electronic music with haunting melodies, capturing the film’s blend of futuristic dread and human vulnerability.

Critically, Akira is celebrated not just for its technical achievements but also for its complex storytelling and thematic depth. It does not offer neat resolutions or clear heroes; instead, it portrays a morally ambiguous world where power is both destructive and transformative. The lack of easy answers enhances its emotional and intellectual resonance, making it a powerful narrative of destruction, evolution, and hope.

Akira stands among the most influential works in animation and film, a piece that’s carved its place indelibly in cultural history. Its influence isn’t just in the stunning visuals or the groundbreaking animation techniques; it’s also in how it expanded the horizons of what anime could achieve on a global scale. Otomo’s dystopian vision challenged viewers to confront uncomfortable truths about power, chaos, and societal resilience. Years after its debut, the film continues to inspire and provoke new generations of creators—each eager to capture some fragment of its raw energy and layered storytelling. Akira’s legacy is not just that of a cinematic masterpiece but as a catalyst that reshaped the possibilities for animated storytelling, making it a timeless beacon for artists and audiences alike.

4 Shots From 4 Films: Special 1966 Edition


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

Today, let us take a look back at a classic cinematic year.  It’s time for….

4 Shots From 4 1966 Films

Queen of Blood (1966, dir by Curtis Harrington, DP: Vilis Lapenieks)

Seconds (1966, dir by John Frankenheimer, DP: James Wong Howe)

One Million Years B.C. (1966, dir by Don Chaffey, DP: Wilkie Cooper)

Django (1966, dir by Sergio Corbucci, DP: Enzo Barboni)

Another Halloween Has Come and Gone


Another Halloween has come and gone and another Horrorthon has come to a close.  We hope you have had a wonderful October and that the Thanksgiving month brings you much to be grateful for!

And remember, just because you didn’t see the Great Pumpkin this year, doesn’t mean that he won’t be there for you next October.  As always, Linus puts it best:

To all of our readers and from all of your friends at the Shattered Lens, thank you.

October Positivity: The Song (dir by Richard Ramsey)


2014’s The Song tells the story of Jed King (Alan Powell).

Jed is a singer-songwriter.  He is also the son of David King, a country-western superstar who drank too much, smoked too much, and had an extramarital affair with Jed’s mother.  (He initially spotted her while she was bathing in a lake.)  After her then-husband killed himself, Jed’s mother married David but their marriage was fraught with difficulty.  Jed grew up in a conflicted household.  After his father died, Jed found himself expected to carry on in David’s name.  Try as he might, he found himself permanent overshadowed by the legacy of David King.

(If all this sounds familiar, that’s because it’s a country-western version of the story of King David, Bathsheba, and Solomon.)

While performing at a wine festival, Jed meets and falls in love with Rose Jordan (Ali Faulkner).  They marry and start a family.  Jed writes a song about Rose and it becomes his first legitimate hit.  Years later, Jed is a superstar, touring while his wife raises their son.  It’s an arrangement that seems to work fine until Jed meets his new opening act, fiddler Shelby Bale (Caitlin Nichol-Thomas).

Soon, in the tradition of Johnny Cash, Jed King is drinking too much and popping pills and losing his way on the road.  He comes home only briefly and Rose starts to feel as if the only reason he even bothers is so he can have sex.  Jed’s life is soon falling apart….

The Song is based on Song of Songs and the story of King Solomon and, to give credit where credit is due, the film is actually pretty clever in the way it updates the story.  If you know the story, it makes sense that David and Jed King would both be musicians.  King David spying Bathsheba in her bath becomes David King spying Bathsheba in a lake.  Naamah, the only one of Solomon’s wives to be named, becomes Rose Jordan.  (Naamah was said to be from what is now Jordan.)  The Queen of Sheba, who tempted Solomon into sin and paganism, becomes Shelby Bale.  David and Solomon were rules.  David King and his son Jed are celebrities and really, there’s not that much difference nowadays.  The film’s dialogue and especially Jed’s thoughts (heard in voice over) are largely borrowed from Song of Songs and again, the film actually does a good job of modernizing them without getting away from the main theme.  This is one of the rare faith-based films that’s not only willing to frankly discuss sex but which also acknowledges that sexual desire is a normal thing and nothing to be ashamed of.  There’s a maturity to this film that you don’t often find in the faith-based genre.

As you can probably guess, I really like The Song.  It’s well-acted, well-directed, and the film looks great.  It might some like faint praise to say that The Song looked like a real movie but, again, that’s an accomplishment for this particular genre.  Alan Powell and Ali Faulkner had wonderful romantic chemistry.  That said, my favorite performance came from Caitlin Nichol-Thomas, who turned Shelby Bale into a true force of chaos.  The Song remains a favorite of mine.