Battlestar Galactica (1978, directed by Richard A. Colla and Alan J. Levi)


In a distant galaxy, the humans and the robotic Cylons have been at war for a thousand years.  Due to the diplomacy of Count Baltar (John Colicos), it appears that a peace agreement has finally been reached.  On their homeworld, President Adar (Lew Ayres) and the leaders of humanity prepare to welcome to the Cylons to a signing ceremony.  Amongst the commanders of the fleet of ships that orbit and defend the homeworld, only Commander Adama (Lorne Greene) fears that the Cylons may be plotting a sneak attack.

Adama turns out to be correct.  Baldar betrays humanity and the Cylons launch a sudden attack, wiping out the human leadership and almost the entire fleet of Battlestars.  Only Adama’s Galactica survives.  After picking up the refugees who survived the attack, the Galactica sets out to find a legendary planet that might be home to more humans.  With the Cylons pursuing and brave men like Starbuck (Dirk Benedict) and Adama’s son, Apollo (Richard Hatch), fighting to protect the last of the human refugees, the Galactica searches for Earth.

With Star Wars still a cultural phenomenon in 1978, it made sense that a television network like ABC would greenlight a science fiction series.  When producer Glen A. Larson pitched the idea for Battlestar Galactica, ABC was eager to move forward with it.  However, when the pilot cost $8,000,000 to produce (which was then a record-setting amount for a television show), ABC decided to recoup their costs by releasing an edited version of the pilot in theaters.  In Canada and the United States, the “film” hit theaters before it was subsequently aired on television.  The film was then later released in Europe, where it was a huge hit.

In fact, it was such a hit that 20th Century Fox sued Universal Studios, claiming that Battlestar Galactica stole the majority of its ideas from Star Wars.  Universal responded by filing a countersuit, claiming that Star Wars stole the majority of its ideas from Flash Gordon.  The case was eventually settled in 1983, long after the original Battlestar Galactica television series had been canceled.

And while that is all very interesting, it doesn’t answer the question that is probably on your mind right now.  Is the edited theatrical release of the Battlestar Galactica pilot any good?

Yes and no.  The first part of the movie, which deals with the Cylon sneak attack and Starbuck and Apollo rescuing the human refugees is an excellent work of science fiction, a space opera that can stand up with the best of them.  Even after all this time, the special effects are still effective as is Lorne Greene’s authoritative performance as Adama.  Richard Hatch and Dirk Benedict are also strong as the two main fighter pilots, even if both of them are obviously meant to be television versions of Luke Skywalker and Han Solo.  (Benedict’s Starbuck was the coolest character on Battlestar Galactica.  He was the best pilot, he was the best poker player, and he even smoked a cigar.)  The Cylons are chilling victims and the pilot even features some effective human drama along with all of the space battles.  After the Cylon attack, the story follows the Galactica as it makes a stop on a planet that’s also a casino that’s being run by untrustworthy space insects.  That part betrays the film’s television origins and feels like one of those episodes of Dr. Who that people try to forget.  The pilot features everything that made Battlestar Galactica work but, unfortunately, it also features everything that didn’t work.

Watching it today, though, it’s impossible not to feel the welcome pull of nostalgia.  In a time of cynicism, the pure idealism of Battlestar Galactica and its quest for Earth provides a nice and needed relief.  To quote Commander Adama:

“Fleeing from the Cylon tyranny, the last battlestar, Galactica, leads a ragtag fugitive fleet on a lonely quest… a shining planet known as Earth.”

Late Night Retro Television Review: Hunter 1.5 “Legacy”


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 Hunter, which aired on NBC from 1984 to 1991.  The entire show is currently streaming on Tubi and several other services!

This week, Hunter and McCall investigate a mob hit!

Episode 1.5 “Legacy”

(Dir by Ron Satlof, originally aired on November 2nd, 1984)

Gangster John Vincent (Tony Girogio) has been gunned down in his own mansion.  Detective Bernie Terwilliger thinks that it’s a case of burglary gone wrong.  Rick Hunter thinks that it was a mob hit and that one of John’s sons is responsible.  He and McCall search for Sandy Newton (Mary-Margaret Humes), the woman who was with Michael Vincent (Vincent Baggetta) the night that his father was killed.

I have to admit that I had totally forgotten that Rick Hunter was supposed to be the son of a mobster.  This episode featured Rick associating with his childhood buddies and, if nothing else, it showed just how unconvincing Fred Dryer was as the scion of a mob family.  Don’t get me wrong.  Fred Dryer was great when he was gunning down a suspect and then saying, “Works for me.”  And Fred Dryer had a fun chemistry with Stepfanie Kramer.  But there was absolutely nothing about Fred Dryer that, in any way, said, “Mobster.”  Surrounding Dryer with a bunch of tough-looking Italian-American character actors did nothing to change the fact that Dryer essentially looked like a former football player from sunny California.

This episode had a predictable story but it also had two good action scenes: a fight on a pier and a mob hit in a warehouse.  It also introduced John Amos as Captain Dolan, who is the new police captain but who appears to dislike Hunter and McCall just as much as the previous captain.  It’s hard not to feel that Amos will be entertaining as he yells at Hunter for not following regulations and costing the city money.

We’ll see how it goes!

Retro Television Review: King Of The Building 1.1 “Pilot”


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 King of the Building, which aired on CBS in 1987.  The entire show is currently streaming on YouTube!

This week, Richard Lewis is a doorman.

Episode 1.1 “Pilot”

(Dir by James Komack, originally aired on July 31st, 1987)

Joey (Richard Lewis) is the …. KING OF THE BUILDING!

Well, no.  Actually, he’s just a doorman for a Park Avenue apartment building.  The owner of the building, Mr. Jamison (Simon Jones), is the real king of the building but the elderly residents all prefer to deal with Joey.  That’s because Mr. Jamison is greedy and venal and always looking for an excuse to kick people out of their apartments.  His latest target is Mrs. Gladstone (Billie Bird), who has dementia and thinks that Joey is her son, Elliot.

(Mrs. Gladstone has a sitcom form of dementia, where all of her mistakes are quirky and she never loses her temper or gets paranoid or disappears for hours on end.)

When Mr. Jamison brings in a social worker (Lora Staley) to try to get Mrs. Gladatone ruled incompetent, Joey and the other workers at the building conspire to make it appear as if all of Mrs. Gladstone’s confusion is due to Mr. Jamison keeping her apartment in disrepair.  The social worker declares that Mrs, Gladstone will be fine as long as Joey is working at the building.

(Personally, I would think this would lead to Mr. Jamison just firing Joey so he could then get rid of Mrs. Gladstone but that doesn’t seem to occur to him.  Of course, Joey also mentions that he’s a member of a union so maybe Joey has his job for life.  I hope it pays well.)

This was a pilot for a series that presumably would have followed Joey as he protected the elderly residents from Jamison.  It only aired once and it didn’t lead to a series.  Watching the pilot, it’s easy to see why.  Richard Lewis, who passed away two days ago, was a comedian who was acclaimed and famous for his ability to comedically explore what it meant to be truly neurotic.  There’s not really anything neurotic or obsessive or even particularly interesting about Joey.  He gets nervous and he complains a lot but, in the end, he’s just a blue collar doorman who doesn’t like his boss.  Lewis is likable but miscast in the role.  Watching him, one gets the feeling that Lewis was holding back all of his natural instincts to play the rather subdued and sensible Joey.

Despite the failed pilot, Richard Lewis would continue to appear in television and moves for the rest of his life and he became a bit of a cultural institution.  On Curb Your Enthusiasm, he often played the voice of reason to Larry David and proved that one could play sensible without losing his edge.  And, of course, a generation will always remember him as King John.

Rest in peace, Richard Lewis.

Late Night Retro Television Reviews: Highway to Heaven 1.5 “Song of the Wild West”


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 go country!

Episode 1.5 “Song of the Wild West”

(Dir by Victor French, originally aired on October 17th, 1984)

This week’s episode of Highway to Heaven has a country music theme as Mark’s car ends up breaking down outside of a country-western bar.

I have to admit that I had mixed feelings about this theme.  Quite frankly, country music is not my type of music.  As I’ve explained in the past, my musical tastes run the gamut from EDM to more EDM.  Country music has just never really done much for me, though I’ve done a line dance or two.

That said, I grew up all over the Southwest.  I live in Texas.  I’m a city girl but I knw what it’s like to walk through the high grass on a humid day.  I know what it’s like to be woken up at sunrise by the sound of a rooster.  I’ve ridden horses.  I once milked a cow but I really didn’t enjoy it at all.  I know the country and I like the people who live out in the country and, though I’m meant to live in a city, I still feel a bit of nostalgia whenever I see a farmhouse or a muddy pickup truck.  This episode did have a legitimate country feel, which I appreciated.

Jonathan actually had a handful of missions in this episode.  First off, he had to help Trudy Swenson (Joan Kjar) win the bar back from Nick Claybourne (Clifton James), the blowhard who won the bar in a rigged poker game from Trudy’s husband.  Secondly, he had to help gas station owner Tim Higgins (Jerry Hardin) come to terms with the musical ambitions of his teenage daughter, Sara (Michele Greene).  And finally, he had to help Sara reunite with her mother, an alcoholic country music star named Pasty Maynard (Ronee Blakely).  And he had to do all this while also working as a bartender at the bar.  Not only did Jonathan have to solve everyone’s emotional problems but he had to convince the local drunk to drink a cup of coffee as opposed to ordering another shot.

Mark doesn’t do much this week and I assume that’s because Victor French also directed the episode.  As a result, everything pretty much falls on Jonathan and it almost feels as if he’s been given too much to do.  Throughout the episode, he’s rushing back and forth between Tim, Trudy, and Patsy.  Add to that the fact that the action stops for a minutes at a time so that Patsy and Sara can perform and you end up with an episode that feels a bit overstuffed.

This episode didn’t really work for me.  I could appreciate the fact that the episode did a good job capturing the country milieu but country music just doesn’t do much for me.  And this episode had a lot of country music.