Enjoy!
(And happy birthday, Erin Nicole!)
Lisa Marie’s Week In Television: 11/17/24 — 11/23/24
Believe it or not, I didn’t really watch anything this week (beyond, of course, the shows that I’ve been reviewing for my Retro Television Reviews). I haven’t even watched the latest episode of Hell’s Kitchen yet. What can I say? Thanksgiving and Christmas are both approaching. Erin’s birthday is on Sunday. (Happy birthday, Erin!) Jeff is leaving for Maryland on Monday. It’s been a busy week and, for the most part, I’ve just been preparing for the next week. And the week after that!
I did, on Friday night and early Saturday morning, watch Thanksgiving episodes of Bewitched and an old show called That Girl. And then I watched an episode of Night Music, which had nothing to do with Thanksgiving. All three of those were on YouTube. That’s pretty much it, though.
So, the next time someone says I watch too much TV, I’ll point them to this post. Sound good?
Late Night Retro Television Review: Check It Out! 2.21 “Here Comes The Bride”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Saturdays, I will be reviewing the Canadian sitcom, Check it Out, which ran in syndication from 1985 to 1988. The entire show is currently streaming on Tubi!
This week, Christian gets married!
Episode 2.21 “Here Comes The Bride”
(Dir by Alan Erlich, originally aired on March 15th, 1987)
Jack Christian (marvelously played by Jeff Pustil) is getting married!
He’s known the girl (Barbara Radecki) for twenty minutes and he’s not totally sure what her name is. (It’s turns out to be Gilga.) Gilga is the niece of Jan (Barry Baidero), the store’s never-bef0re-seen butcher. When Jack first meets Gilga, she’s crying. Her visa has expired. The only way that she’s going to avoid being sent back to her home country Baclavia is if she manages to get a Canadian green card. One quick way to do that is to get married. Jan offers to pay Christian to marry Gilga and then divorce her after she gets her green card. Christian agrees.
However, there’s a problem.
Christian is actually falling in love with Gilga but he doesn’t know how he can convince Gilga that his love is real. Howard tells him that the only way to do it would be to give back the money. That sounds simple enough but Christian really likes money. Plus, he needs a new car….
(Maybe he could just stay married to Gilga and so charm Jan that Jan would buy him a new car just to welcome him to the family. The possibility of anyone sincerely liking Christian is never really considered, which is kind of sad.)
This episode was fairly dumb but it was more enjoyable than the usual Check It Out! offering, if just because it focused on one of the show’s few consistently funny characters. Since the first season, Jeff Pustil has been one of the stronger members of the cast, playing Christian as being such an unapologetic sleaze that it’s impossible not to like him. No one should ever trust Jack Christian but he still comes across like he would be fun to catch a movie with. Unfortunately, up until this episode, the show rarely took advantage of Pustil’s strong work as Christian. This episode finally gives Pustil the spotlight and he manages to wring quite a few laughs out of so-so material. Much like Gordon Clapp and Kathleen Laskey (who played Marlene and married Pustil after the show ended), Jeff Pustil brought enough odd quirkiness to his role that he often transcended the show’s scripts.
Along with giving Jeff Pustil a chance to show off, this episode also featured several never-bef0re-seen employees of Cobb’s. They show up for Christian’s bachelor party and the wedding, both of which take place at the store for some reason. I’ve often wondered how a major supermarket managed to survive with only two cashiers and one bagger. (It often seemed strange that Howard had a secretary but apparently not a janitor.) This episode revealed that a lot of people worked at Cobb’s, the viewer apparently just never noticed them before.
This was a rare good episode. Next week, we conclude season two!
Retro Television Review: Welcome Back Kotter 4.9 “The Barbarino Blues”
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 Welcome Back Kotter, which ran on ABC from 1975 to 1979. The entire show can be purchased on Prime.
Well, they tease him a lot …. even though he’s not longer on the spot….
Episode 4.9 “The Barbarino Blues”
(Dir by November 3rd, 1978, directed by Norman Abbott)
Gabe Kaplan is not in this episode but John Travolta is. The audience goes wild when they see John Travolta stepped onto the soundstage. Maybe they were worried they were going to get stuck watching one of the episodes in which Barbarino doesn’t appear.
Well, no worries for them! This episode is all about Barbarino and the Sweathogs. Unfortunately, the majority of it takes place in Barbarino’s incredibly ugly and dirty-looking apartment. I don’t know why but every 70s sitcom appeared to take place in the filthiest locations possible. I saw an episode of All In The Family recently and I found myself cringing at the thought of all the bugs and weevils that were probably buried in Archie Bunker’s chair. Welcome Back Kotter takes thing even further by having Vinnie live in what appears to be the drug room in an abandoned building. Joe Buck and Ratso lived in a nicer place.
Anyway, Barbarino is depressed. He was going to break up with his girlfriend but she dumped him first. “I’m so depressed!” Travolta says, in his high-pitched Barbarino voice. The other Sweathogs try to help Barbarino conquer the blues. This means that a good deal of the episode is taken up with Beau giving advice to Barbarino. The whole thing is set up as a changing of the guard sort of thing. It’s as if the show is saying, “You think John Travolta’s cool? Well, check out Stephen Shortridge!”
It’s a dumb episode. At one point, the Sweathogs point out that Barbarino hasn’t come to school in three days and it was a bit jarring to be reminded that the middle-aged-looking men were all supposed to be high school students. Usually, whenever this show had a bad episode, John Travolta would serve as Welcome Back Kotter‘s saving grace. But, with this episode, Travolta appears to be as bored as just about everyone else. Travolta had movie stardom to focus on. By the time this episode aired, he had been nominated for an Oscar. It’s probably safe to say that being a Sweathog was the last thing on Travolta’s mind.
Speaking of the Sweathogs, I have defended Ron Pallilo’s performance as Horshack in the past. Yes, Horshack is annoying but Pallilo occasionally managed to capture the character’s sweet and innocent nature. But I have to admit that I’ve spent most of the fourth season hoping that someone will finally toss Horshack off the Brooklyn Bridge. Everyone turned into a caricature during the fourth season and, since Horshack was already a caricature, that just made his character even more annoying. There’s also the fact that Ron Pallilo was 30 years old during the fourth season and he looked older. Whenever he did Horshack’s signature laugh, the wrinkles on his face would suddenly appear and make him look like a map of the interstate highway system.
I guess my point is that this is another episode that left little doubt that it was time for everyone to move on. I mean, when even Kotter isn’t around to be welcomed back, it’s time to graduate and start a new life as a featured player Off-Broadway. To quote the Chambers Brothers: “TIME!”
Live Tweet Alert: Join #ScarySocial for Black Friday!
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, at 9 pm et, Tim Buntley will be hosting #ScarySocial! The movie? Black Friday!
If you want to join us this Friday, just hop onto twitter, start the movie at 9 pm et, and use the #ScarySocial hashtag! I’ll be there tweeting 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.
Black Friday is available on Prime!
See you there
DEATH WISH V: THE FACE OF DEATH – The end.
Picture it…it’s 1992 or 1993 and I’m back at my local Hastings Entertainment superstore browsing through an entertainment magazine. Surprisingly, I came across a bit of entertainment news that a 71 year old Charles Bronson had accepted an offer of $5 million to reprise his Paul Kersey character for a fifth time. I couldn’t help but wonder what possible direction that they could take the series that would be interesting. I didn’t see anything else about the movie for the next year or so, and then it showed up some time in 1994 available for rent at that same Hastings Entertainment superstore. As far as I know, it never played in theaters in Arkansas, although it did play in some theaters in other parts of the country prior to going to home video. I immediately rented the film, somewhat apprehensive of what it would be….
DEATH WISH V: THE FACE OF DEATH, begins with Paul Kersey (Charles Bronson) back in New York. We first see him, looking quite dapper I might add, walking down the street in the garment district. He’s on his way to see his latest girlfriend, fashion designer Olivia Regent (Lesley Anne-Down), whose fashion show is currently underway. You immediately feel sorry for Ms. Regent as you know her prospects for survival are somewhere between slim and none since Kersey’s her man. It doesn’t help matters when her ex-husband, awkwardly impotent mobster Tommy O’Shea (Michael Parks) shows up and starts physically abusing her and her employees. You see, O’Shea is trying to force his ex-wife to use her fashion business to help him launder money from his various criminal activities. Kersey tries to convince Olivia to go to District Attorney Brian Hoyle (Saul Rubinek) to try to put O’Shea away. Unfortunately, there’s corruption in the D.A.’s office in the form of Hector Vasquez (Miguel Sandoval), who passes the information back to O’Shea. From this point forward, Ms. Regent’s life is in serious jeopardy and we all know Kersey’s record of keeping his women alive isn’t that great. I won’t give the details away, but let’s just say that events conspire so that the cursed Kersey will have to resume his old vigilante ways in pursuit of a justice that can never be provided to him by the law.
I remember vividly my first ever viewing of DEATH WISH V back in 1994. I put the videotape in the VCR and watched several previews that looked crappy and didn’t give me a lot of hope for the movie. And then it started, and I have to admit I enjoyed it from the very beginning to the end. I guess my expectations were so low that it was a major relief when I realized that it was a reasonably well-made, audience satisfaction movie designed for people like me who simply enjoy seeing Bronson acting as an instrument of justice. I thought Bronson looked good for an action star over 70 years old. I really liked the movie’s sense of humor. Michael Parks overacted to the point of parody as O’Shea, and the character of Freddie Flakes (Robert Joy) was especially fun as a hitman with major dandruff problems. And there was something about Charles Bronson that was different in comparison to some of the earlier entries. Then I realized what it was, Bronson was having fun. He took out the bad guys with things like poisoned cannolis and exploding soccer balls, all with a twinkle in his eyes. In the 70’s, Bronson made several movies where his characters had that twinkle. It was nice to see it back. Bad things happened of course, but director Allan A. Goldstein kept a tone of black comedy that suited the movie and its aging star well.
Even in 1994, watching DEATH WISH V felt like the end, not just of the DEATH WISH series, but of Bronson’s time as a movie star. As his biggest fan, that made me kind of sad. He would only make 3 more TV movies after this, those being the FAMILY OF COPS TV movies. And while there are some who don’t like DEATH WISH V and seem to go out of their way to put it down, I’m exactly the opposite. To me, DEATH WISH V: THE FACE OF DEATH is a gift to Charles Bronson fans and an enjoyable end to his signature series!
Artwork of the Day: The Lust Bosses (by Darrel Milsap)
by Darrel Milsap
This cover is from 1966. Are they just having a party out there? They all certainly look pleased with themselves.
Music Video of the Day: Dance With Somebody Else by Twinnie (2024, dir by Twinnie and Andrew Scholz)
Enjoy!
Late Night Retro Television Review: Friday the 13th: The Series 2.19 “The Butcher”
Welcome to Late Night Retro Television Reviews, a new feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Friday the 13th: The Series, a show which ran in syndication from 1987 to 1990. The show can be found on YouTube!
This week, it’s all about Jack!
Episode 2.19 “The Butcher”
(Dir by Francis Delia, originally aired on April 24th, 1989)
Horst Mueller (Colin Fox), a Nazi scientist, uses a magic amulet to bring back to life the fearsome Col. Rausch (Nigel Bennett), a Nazi war criminal who was infamous for using barb wire as a garotte whenever he was carrying out executions. Rausch was killed during the war by a squad of soldiers led by a young lieutenant named Jack Marshak. Once Rausch is brought back to life, he not only sets himself up as a radio talk show host but he also seeks revenge on the men who killed him. One-by-one, he kills the members of the squad until eventually, only three are left alive, Simpson (Julius Harris), Shaw (John Gilbert), and Jack.
There were many episodes of Friday the 13th in which Jack was absent and described as being out-of-town while Micki and Ryan dealt with the latest cursed antique. This, however, is the first episode to feature Jack on his own. He mentions that Micki and Ryan are out-of-town, presumably because they’re tracking something down. This leads Jack to face Rausch with only the help of Simpson and Shaw. Watching this episode, one gets the feeling that Jack wouldn’t have it any other way. While this episode features all of the usual blood and melodrama that we’ve come to expect from this show, it also serves as a tribute to the friendship between Jack and his comrades-in-arms. Jack relates to Simpson and Shaw in a way that he can’t relate to the much-younger Micki and Ryan. If Jack is usually cast as a fatherly figure, this episode finds him working with equals and fighting against a monster with whom he has a personal connection. This is the rare episode to not feature any of Lewis’s cursed antiques. Instead, the magic amulet is one of the many artifacts for which Heinrich Himmler and the SS spent much of the war searching.
It’s a change-of-pace episode that gives Chris Wiggins a chance to show off his considerable talents an actor. Rarely has Jack been as haunted as he is in the episode and Wiggins’s sad eyes allow us to see what a lifetime of dealing with unbelievable evil would do to a person. In this episode, Jack is not just aware of the evil in the world but he’s also aware that he and his comrades-in-arms, the members of the so-called “Greatest Generation,” are aging and their time is passing. Jack and his friends are at an age where they should be enjoying their retirement. Instead. they’re still fighting against the legacy of Hitler’s evil.
This was a good and melancholy episode of Friday the 13th. This show could be uneven but episodes like this were good enough to make one mourn that the series did not last longer than just three seasons.
STRIPPED TO KILL – 35 years later!
If you were a teenage boy in the 80’s, and you spent time at video stores, there’s no doubt in my mind that you noticed the VHS box for STRIPPED TO KILL. I certainly did! The box art promised violence and sexy women, and I was all in. I’m guessing that I watched the film when I was around 15 or 16 years old, and I hadn’t seen it since then. A few weeks back, we were recording an episode of our THIS WEEK IN CHARLES BRONSON PODCAST when actress Kay Lenz came up in reference to her part in DEATH WISH 4: THE CRACKDOWN. One of my buddies also mentioned her part in STRIPPED TO KILL. With that seed planted, I decided to give it another viewing and find out what sort of difference an additional 35 years would make in the viewing experience.
Not surprisingly, STRIPPED TO KILL opens with a beautiful young lady named Angel performing a striptease act to an extremely 80’s song called “Deny the Night.” I’ll give Larry Steicher his credit because he was singing the hell out of the song on the soundtrack. A little later, the stripper gets a phone call from someone she knows asking her to meet. When she shows up to meet this mystery person, they throw gasoline on her and burn her alive. Detective Cody Sheenan (Kay Lenz) and her partner Detective Heineman (Greg Evigan) are working undercover in the area and come across this assault and murder in the act, but the killer gets away. When the two cops find out that the victim was a stripper at the Rock Bottom Dance Club, they want the case. Through a series of events, including Cody winning an “Amateur Night” contest, she’s able to go undercover at the club where she gets to know the dancers. Detective Heineman hangs out as well in order to protect her, and I think, to get a look at her performances. Our two undercover cops immediately begin to learn the backgrounds of the ladies at the club, and they also investigate any suspicious characters they see hanging around. When another stripper is murdered, and with several suspects beginning to emerge, it’s a race against time to see if they can catch the killer before other strippers have to die!
I will say right off the bat that STRIPPED TO KILL delivers on the box art. There are multiple strippers killed, and by my count, there are 12 different striptease performances of various quality and duration throughout the course of the 88 minute film. And the cast is downright impressive for a low-budget B-movie like this. Kay Lenz is a fine actress with an impressive resume of TV and films, including productions like Clint Eastwood’s BREEZY, WHITE LINE FEVER with Jan-Michael Vincent, THE GREAT SCOUT & CATHOUSE THURSDAY with Lee Marvin, and FAST-WALKING with James Woods. As referenced in an earlier paragraph, she co-starred with Charles Bronson in DEATH WISH 4: THE CRACKDOWN the same year that she filmed STRIPPED TO KILL. Two classics in the same year is something every actor should hope for, and she doesn’t hold back in her performance here! Greg Evigan was in a show I liked very much when I was a kid called B.J. AND THE BEAR. I also remember him in that show MY TWO DADS when I was a teenager as well. He’s not a great actor, but he’s fine here. And then there’s Norman Fell, Mr. Roper himself, as the manager of the strip club. I have a soft spot for Norman because he played Charles Bronson’s boss in the 1973 film THE STONE KILLER, a film that also features John Ritter in a small role. Norman probably needed the paycheck, but he’s definitely a welcome presence in the film.
This is the directorial debut of actress Katt Shea. She co-wrote the script for STRIPPED TO KILL with her then husband Andy Ruben. She apparently got the idea for the film when she lost a bet with Andy and ended up actually going to a strip club. She was so impressed with some of the performances that she wanted to make a movie showing the ladies in that world. Katt Shea would later direct films like POISON IVY with Drew Barrymore and THE RAGE: CARRIE 2. And, of course, the biggest factor in getting the movie made, Katt Shea was able to convince the legendary Roger Corman to produce the film. STRIPPED TO KILL would turn into a financially successful film for Corman. It was particularly successful overseas and on the home video market. Nice investment, Mr. Corman!
Overall, STRIPPED TO KILL delivers exactly what it promises, and it does so in 1 hour and 28 minutes. That’s a pretty nice combination in my book. I think I felt the same way in 1989 as well!
Through the Shattered Lens