Retro Television Review: St. Elsewhere 3.9 “Up On The Roof”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Daily Motion.

This week, an arrest is made.

Episode 3.9 “Up On The Roof”

(Dir by Eric Laneuville, originally aired on November 21st, 1984)

It’s another busy day at St. Eligius.

  • The last of the firemen (Stephen Elliott) is finally sent home.  At first, he’s bitter about all of the skin grafts and all the other work that Dr. Caldwell did on him.  But then his grandkids come in the hospital and room and shout, “Grandpa!”  And then he steps outside and is greeted by all the other firemen.  He leaves in a fire truck and Dr. Caldwell — the only angst-free doctor at St. Eligius — smiles and waves.  Finally, someone on this show gets a happy ending.
  • Ms. Hufnagel continues to get on everyone’s nerves with her constant complaints.  Dr. Fiscus dumps her on Dr. Axelrod.  While the show seems to want us to be as annoyed with Ms. Hufnagel as everyone else, I have to admit that I feel sorry for her.  Does she complain a lot?  Yes, she does.  But being in a hospital can really be scary.  I complained a lot whenever I was rushed to the ER because of my asthma.  I complained a lot when my mom was in the hospital.  I complained a lot when my dad was in the hospital.  I complained a lot when my aunt was in the hospital.  Sometimes, complaining is the only comfort you have.
  • Dr. Morrison is upset when a friend (John Schuck) is told that his daughter cannot be treated with an experimental dialysis machine.
  • Nurse Rosenthal continues to have an affair with Richard Clarendon, the labor negotiator.
  • Dr. Christine Holz (Caroline McWilliams) comes to the hospital to perform a bone marrow transplant.  Dr. Annie Cavanero invites Dr. Holz to come to her place for dinner.  Cavanero is shocked when Dr. Holz reveals that she’s a lesbian and the viewer is once again reminded that this show aired in the mid-80s.
  • According to what I’ve read online, the original plan was for Dr. Holz to become Cavanero’s romantic partner but Cynthia Sikes refused to kiss another woman onscreen.  This led to the storyline being hastily rewritten and it apparently also led to Sikes being fired from the show at the end of the third season.
  • Kathy Martin is still in the psych ward.  When Detective Alex MacGallen (Charles Lanyer) attempts to question her about where she was when Peter White was shot, he is informed by Kathy’s doctor that Kathy has an alibi.  Later, Shirley comes to the psych ward and slips Kathy a letter.
  • Shirley has been hiding the gun that she used to shoot Peter all over the hospital.  However, when the detective finally confronts her and reveals that he knows that she killed Peter, Shirley pulls the gun on him and then run up to the rooftop.
  • On the roof, Dr. Westphall and Jack take their turns trying to convince Shirley to surrender to the police.  After Shirley confesses and then demands to know why Jack didn’t make more of an effort to stop Peter, Shirley drops her gun and is taken into custody.

This was a depressing episode, even by the standards of St. Elsewhere.  Shirley has always been one of my favorite characters and I hate the idea that she’s now going to go to prison for killing Dr. White.  From a narrative point of view, someone had to shoot Peter.  That was really the only way his story could end.  Personally, I think it would have made more sense for Dr. Cavanero to be the shooter that Shirley.  I mean, if Cavanero was going to be written off the show anyway, killing Dr. White would have given her a decent exit.

Next week, I’m sure something else depressing will happen.  We’ll see!

Song of the Day: Love Will Lead You Back ( by Taylor Dane)


There’s something timeless about Taylor Dayne’s “Love Will Lead You Back.” It’s one of those late‑’80s power ballads that seems to wrap you in equal parts heartbreak and hope. The production has that cinematic touch — sweeping keys, smooth percussion, and Dayne’s powerhouse vocals soaring right at the emotional peak. You can practically imagine it playing in the background of a classic movie breakup scene, the kind where one person turns away but everyone watching knows they’ll find their way back to each other.

What really hits about this song is how honest it feels about love’s cycles — that idea that no matter how far two people drift, fate has a way of reconnecting them when the time is right. Dayne’s delivery balances vulnerability and strength; she’s not begging, she’s believing. The lyrics have that emotional confidence that was so characteristic of ballads from that era, blending idealism and maturity in a way that feels comforting even decades later.

Listening to it now, the song carries a kind of nostalgic magic. It brings you back to a time when love songs weren’t afraid to be grand and achingly sincere. Maybe it’s the warm analog production or the fearless emotion in Dayne’s voice, but it reminds you how music used to make you stop for a moment — just to feel. It’s a track that doesn’t just tell you love will lead you back; it makes you believe it.

Love Will Lead You Back

Saying goodbye is never an easy thing
But you never said that you’d stay forever
So if you must go, well darlin’, I’ll set you free
But I know in time that we’ll be together

Oh, I won’t try to stop you now from leaving
‘Cause in my heart I know

Love will lead you back
Someday I just know that
Love will lead you back to my arms
Where you belong
I’m sure, sure as stars are shining
One day you will find me again
It won’t be long
One of these days our love will lead you back

One of these nights
Well, I’ll hear your voice again
You’re gonna say
Oh, how much you miss me
You’ll walk out this door
But someday you’ll walk back in
Oh, darling I know
Oh, I know this will be

Sometimes it takes
Some time out on your own now
To find your way back home

Love will lead you back
Someday I just know that
Love will lead you back to my arms
Where you belong
I’m sure, sure as the stars are shining
One day you will find me again
It won’t be long
One of these days our love will lead you back

But I won’t try to stop you now from leaving
‘Cause in my heart I know, oh yeah

Love will lead you back
Someday I just know that
Love will lead you back to my arms
Where you belong
I’m sure, sure as stars are shining
One day you will find me again
It won’t be long
One of these days our love will lead you back, oh yeah

Love will lead you back
Someday I just know that
Love will lead you back to my arms
It won’t be long
One of these days our love will lead you back

Scenes That I Love: Jason Emerges From The Lake In Friday the 13th


In 1980, when director Sean S. Cunningham offered Ari Lehman a role in his new movie, he asked only one question. “Can you swim?”

At the age of 14, Ari appeared in Friday the 13th.  He didn’t get much screen time but his performance and appearance as the young Jason Voorhees created a moment of fright that lives on today.

4 Shots From 4 Films: Special Friday The 13th 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 is all about letting the visuals do the talking.

The Friday the 13th films aren’t exactly known for being the most visually impressive horror films ever made.  That’s especially true of the first 8 films, which were all shot on a low budget and in a hurry.  Actually, I think you could argue that’s a part of the enduring charm of the series.  Today is Friday the 13th and there’s no way that I, as a lover of the horror genre, couldn’t use the 4 Shots format to pay a little bit of tribute to one of the most successful and influential horror franchises of all time.

So, with that in mind, here are….

4 Shots From 4 Friday the 13th Films

Friday the 13th (1980, dir by Sean S. Cunningham)

Friday the 13th Part II (1981, dir by Steve Miner)

Friday the 13th: The Final Chapter (1984, dir by Joseph Zito)

Friday the 13th Part VIII: Jason Takes Manhattan (1989, dir by Rob Hedden)

Back in 2012, I reviewed every single film in the Friday the 13th film franchise!  It was a lot of fun!

My Friday the 13th reviews:

Happy Friday the 13th everyone!

Live Tweet Alert: Join #FridayNightFlix for Sharktopus!


As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties.  On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday.  On Mastodon, 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, at 10 pm et, I will be hosting #FridayNightFlix!  The movie?  Sharktopus!

If you want to join us this Friday, just hop onto twitter, find Sharktopus on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  I’ll be there happily tweeting.  It’s a friendly group and welcoming of newcomers so don’t be shy.

See you there!

Late Night Retro Television Review: Highway to Heaven 5.7 “The Squeaky Wheel”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi and several other services!

This week, Jonathan and Mark help out a vet.

Episode 5.7 “The Squeaky Wheel”

(Dir by Michael Landon, originally aired on June 16th, 1989)

Jonathan and Mark attempt to turn Wayne Secret (Robert David Hall) into a disability activist.  Having lost his legs in Vietnam, Wayne wants to live a quiet life with his wife (Deborah Benson) but, while staying at a recently renovated hotel, he is woken up by a fire alarm.  With the the elevators not working and no ramps, Wayne is forced to depend on the kindness of a stranger who carries him down a flight of stairs.  The fire turns out to be a false alarm but the experience leads to Wayne protesting the fact that the hotel is not wheelchair accessible.

The owner of the hotel not only agrees to make changes to the building but he also offers Wayne a job.  Things are looking up for Wayne!  But, when a gang of young men harass him and his wife at a drive-in movie, Wayne snaps.  He buys an Uzi and then heads down to their clubhouse to take them out.  Luckily, Jonathan appears and talks Wayne out of becoming a mass murderer.  Wayne goes on to receive a “man of the year” award while Jonathan beats up the leader of the gang.

This episode felt very familiar.  In the past, this episode would have featured Mark’s brother-in-law, Scotty.  Instead, it features Wayne, who is not a particularly compelling character.  I think that this episode would have worked if it had just focused on Wayne advocating for wheelchair accessible buildings.  I also think it would have worked if it had just focused on Wayne’s anger to the gang and his struggle to let go of his bitterness over his war experiences.  Unfortunately, trying to cram both those storylines into one 45-minute show led to the whole thing feeling half-baked.

There was one poignant scene in this episode.  It opened with Mark and Jonathan visiting the Hollywood Walk of Fame.  Mark got excited when he came across Michael Landon’s star. “Never heard of him,” Jonathan shrugged.  “I forget you’ve been dead for forty years,” Mark replies.  It captured Jonathan and Mark’s friendship, which was always been one of the more underrated aspects of Highway to Heaven.  That said, it was also a bit of a sad scene as the episode itself aired a day after the death of Victor French and Landon himself would pass away nearly two years later.

Retro Television Review: Decoy 1.20 “Across the World”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Decoy, which aired in Syndication in 1957 and 1958.  The show can be viewed on Tubi!

This week, Casey gets involved with gun smugglers!

Episode 1.20 “Across the World”

(Dir by Teddy Sills, originally aired on February 24th, 1958)

Andrew Garcia (Frank Silvera), Herbert Carson (Arthur Batanides), and Carl Walton (Nicholas Colasanto) are using an import/export business to smuggle guns to the communists.  (Booo!)  When the owner of the company finds out, they murder her in a hit-and-run.  Because of the suspicious nature of the woman’s death, Casey is sent undercover to investigate.  She shows up at the company, claiming to be the woman’s only heir.  Her cover is blown early, leading to her getting knocked around by the bad guys.  Fortunately, for her, the bad guys end up turning on each other and eventually, the rest of the police force arrives and puts an end to the smuggling once and for all.

This episode didn’t feature much of Beverly Garland.  Instead, the majority of it focused on the three smugglers arguing amongst themselves and then plotting various double crosses.  Unfortunately, the smugglers weren’t particularly interesting.  Sometimes, bad guys can be compelling to watch but these dopes were obviously doomed from the minute that they first appeared.  Though it’s never specifically said to whom they were smuggling the weapons, I’m going to assume that it was probably Castro and his forces.  In 1958, there were a lot of Americans who actually thought that Castro would be more willing to work with America than Batista was.  Needless to say, they turned out to be incorrect.  Casey could have warned them if anyone had bothered to listen!

This was a lesser episode of Decoy but the episode did feature some location shots of New York City.  The actors where shivering so I can only assume it was very cold when they filmed this episode.

Song of the Day: Shake You Down (by. Gregory Abbott)


There’s something instantly recognizable about Gregory Abbott’s “Shake You Down.” From that opening synth line to the smooth, almost whispered vocals, it feels like pure ’80s romance bottled into four silky minutes. This wasn’t a loud song — it didn’t need to be. Abbott’s voice doesn’t demand attention; it draws you in with that gentle charm that made it the perfect track for dimly lit gym floors, disco balls spinning, and teenagers swaying in slow circles, trying not to step on each other’s shoes.

What made “Shake You Down” stand out wasn’t just the melody but how effortlessly seductive it was without ever being explicit. The song oozes quiet confidence — cool, easy, and slightly shy — the way the best R&B hits of the era did. It’s the kind of tune that made every listener feel like they were starring in their own movie moment: that hesitant glance, that first slow dance, that unspoken “this might be something” energy. Even now, it triggers a rush of nostalgia for a more innocent kind of intimacy.

Decades later, it’s no wonder “Shake You Down” still sneaks its way into prom playlists and retro nights. It doesn’t chase trends or rely on flashy production — it’s just a solid, soulful groove that makes you want to close your eyes and sway. For anyone who grew up in the ’80s or ’90s, hearing those first notes is like being transported back to a simpler time when a slow song at the end of the night could mean everything.

Shake You Down

Girl, I’ve been watching you
From so far across the floor, now, baby
That’s nothing new, I’ve watched you
So many times before, now, baby
I see that look in your eyes (look in your eyes)
And what it’s telling me
And you know, ooh girl, that I’m not shy
I’m glad you picked up on my telepathy, now, baby

You read my mind (you know you did)
Girl, I wanna shake you down (oh well, oh well)
I can give you all the lovin’ you need
(I’m gonna love you)
Come on, let me take you down (oh, baby)
We’ll go all the way to Heaven
Ooh, I been missing you
And the way you make me feel inside
What can I do? I can tell you’ve got your pride now, baby
Come to me (oh well, oh well)
Let me ease your mind (oh babe)
I’ve got the remedy, yes I do
Now give me just a little time

I wanna rock you down
(I can give you all the lovin’ you need)
I’m gonna love you
(Come on, let me take you down)
Oh well, oh well
(We’ll go all the way to Heaven)

Girl, I’ve been missing you
And you know, it’s funny
Every time I get to feelin’ this way
I wish I had you near me
I wanna reach out and touch you

I can’t stop thinking of the things we do
The way you call me “baby” when I’m holding you
I shake and I shiver when I know you’re near
Then you whisper in my ear (oh baby, well, well)

Oh baby
(I can give you all the lovin’ you need)
I’m gonna love you
(Come on, let me take you down)
Oh well, oh well
(We’ll go all the way to Heaven)

Eeny-meeny-miny-mo (you read my mind)
Come on, girl, let’s shock the show (girl, I wanna shake you down)
(I can give you all the lovin’ you need)
Roses are red and violets are blue
I’m gonna rock this world for you
Hey baby
(We’ll go all the way to Heaven)
(You read my mind)
Girl, I wanna shake you down
I can give you all the lovin’ you need
Come on, let me take you down
We’ll go all the way to Heaven