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 Good Morning, Miss Bliss, which ran on the Disney Channel from 1988 to 1989 before then moving to NBC and being renamed Saved By The Bell. The entire show is currently streaming on Prime!
This week, Miss Bliss takes over the school.
Episode 1.12 “Clubs and Cliques”
(Dir by Burt Brinckerhoff, originally aired on March 11th, 1989)
Mr. Belding is teaching Miss Bliss’s class!
Why?
Well, the answer doesn’t make much sense but here it is. The School Board has ordered Belding to name one of the teachers as an “assistant principal” who can be in charge whenever he’s out of the building. Most schools just hire an assistant principal but whatever. Maybe this is an Indiana thing. Since there are only three teachers to choose from and one of them is the mad scientist who wanted to force Nikki to dissect a frog, Mr. Belding goes with Miss Bliss. But, before Miss Bliss can officially have the job, she has to serve as a principal for a week. Belding covers her class.
At first, Mr. Belding is nervous. But, by the end of the class period, he’s thrilled. He tells Miss Bliss that he thinks he did a wonderful job and that the kids really got something out of it.
“Mr. Belding,” Miss Bliss replies, “it’s only homeroom.”
Okay, I’m just going to say it …. WHAT A BITCH! Seriously, how condescending can one person be? This is who you want to make principal? Is this how you motivate people? Again, this is why I cannot stand Miss Bliss. Seriously, if anyone ever said that to her — “It’s only homeroom,” — she would have rightly been offended.
(Then again, I have to wonder whether or not Mr. Belding’s ever taught a class before. This episode seems to imply that he hasn’t. Was that a common thing with principals back in the 80s?)
Miss Bliss has a lot to deal with because it’s pledge week. Apparently, the coolest club at JFK Middle School is the Rigma club and Zach has been told by Rick (J. Trevor Edmond) and Trevor (Christopher Carter) that he can wear a Rigma jacket if he’s mean to all of his friends. Zach calls Lisa’s parents and let them know that she wears makeup in school. He throws ice cream at Nikki’s sweater. He reveals that Mikey has a crush. He calls Screech a “nothing.” He loses all of his friends and then he finds out that he wasn’t even being considered for Rigma membership. Instead, it was all a big joke on the part of Rick and Trevor.
Now, to give credit where credit is due, Mark-Paul Gosselaar did a pretty good job playing up Zach’s regret after he realized he had lost all of his friends for nothing. The episode is interesting because it shows a side of Zach that would totally disappear over the course of Saved By The Bell. In this episode, Zach is insecure and desperate to belong. By the time Saved By The Bell really got going, it had been established that Zach had no insecurities and was automatically loved by everyone he met. Insecure Zach is infinitely more compelling but a bit less fun than confident Zach. Watching this episode, it’s hard to believe we’re watching the same Zach Morris who will eventually lie about a being a descendant of Chief Joseph.
Things work out in the end. His friends forgive Zach. Even more importantly, Miss Bliss gets in trouble for not calling and asking for permission from the Board of Education before giving everyone everything they wanted. “She’s not perfect,” Belding chuckles. You got that right, Mr. Belding!
Subverting the Zombie Canon: Satire, Genre-Bending, and Decay in the Return of the Living Dead Series
When talking about cult horror films, the Return of the Living Dead series holds a special place—not only as a spin-off from George A. Romero’s seminal Night of the Living Dead, but as a unique creative force in its own right. Thanks to a legal split between Romero and co-writer John Russo over rights to the “Living Dead” name, Russo and director Dan O’Bannon got to imagine a parallel zombie universe. This franchise quickly carved out its own identity, mixing horror, black comedy, and punk spirit in a way that both paid tribute to and upended zombie tropes.
Reinventing Zombie Lore with a Wink
The original Return of the Living Dead (1985) starts with a clever “what if” twist: what if Romero’s Night wasn’t just a movie, but a dramatized cover-up of a real government disaster? This meta idea instantly frames the film as self-referential and playful, setting a tone unlike anything out at the time.
Central to the film’s identity is the invention of 2-4-5 Trioxin, a fictional military chemical designed to clear marijuana crops which instead raises the dead—zombies with surprising new abilities. Unlike the slow, drooling zombies Romero popularized, these ghouls sprint, talk, and set traps. Their hunger is peculiar as well: they crave brains exclusively, as it eases the pain of being undead. And the old rules of zombie combat? Forget shooting them in the head. These zombies resist it, raising the stakes and scare factor.
This refreshing rewrite of zombie rules allowed the movie to be both frightening and fun. The zombies were smart but still monstrous, turning classic horror expectations on their head in a way that invited both laughter and fear—a tricky balance that few horror comedies manage.
Playing with Comedy, Panic, and Punk Rock
One of the greatest strengths of the original film is how it embraces horror-comedy so naturally. It doesn’t shy away from being funny while still delivering tension. James Karen and Thom Mathews excel as the main pair—Karen’s frantic, over-the-top panicked man paired with Mathews’ straight, slowly succumbing counterpart create a perfect comedic rhythm. Their slow transformation into zombies adds a tragic dimension to what could have been simple slapstick. Meanwhile, Don Calfa’s mortician character and Clu Gulager’s warehouse owner provide a grounded center amidst chaos.
The punk subculture flavor adds another unique texture. Linnea Quigley’s famous graveyard striptease encapsulates the 1980s’ blend of irreverence, sexuality, and horror obsession. The scene is shocking, hilarious, and iconic—one of those moments that encapsulates everything this film is about: having fun with taboos while not losing the darker undercurrents of mortality and decay.
Beyond laughs, there’s biting satire here. The film skewers the government and military’s hubris—scientists create a superweapon they can’t control, leading to chaos and destruction. This reflects 1980s American anxieties about bioweapons, government cover-ups, and nuclear fears. Horror and comedy collide to reflect cultural distrust and paranoia.
The Problem of the Sequel: Part II’s Familiar Ground
When Return of the Living Dead Part II came out in 1988, it felt like the franchise was stuck in a loop. With much of the original cast returning in near-identical roles, and lines and situations seemingly recycled, the film circles back to the same story. This self-copying invites a mix of amusement and disappointment: it seems the filmmakers didn’t believe they could improve on the original and decided to replicate it instead.
While it has its moments—good practical effects and a rollicking tone reminiscent of the first film—it leans harder into comedy, sometimes at the expense of the horror. The suburban setting and clearer military lockdown raise the action stakes, but the humor feels broader and less sharp, which can make the movie seem a bit cartoonish.
In a way, Part II comments on the pitfalls of horror franchises: once you’ve struck gold with an unexpected idea, sequels often struggle to regain that freshness. This installment is entertaining, but signals the beginning of the franchise’s creative plateau.
Much Darker Territory: Part III’s Horror and Romance
With Return of the Living Dead 3 in 1993, things take a major tonal shift. Brian Yuzna’s direction removes much of the comedy and replaces it with body horror, gore, and a genuinely tragic romance. The story centers on Curt and Julie, two teenagers tragically pulled into the military’s secret zombie experiments. After Julie is accidentally killed and resurrected, she becomes a zombie who feeds on brains but manages her hunger through extreme self-inflicted pain.
This grim take pushes the franchise into more serious, intense horror territory, with heavy themes of love, loss, and bodily autonomy threaded throughout. Julie’s tortured transformation is both tragic and unsettling, symbolizing not only the loss of life but also the torment of trying to hold onto humanity while losing it from within.
Yuzna’s effects are grisly in the finest tradition of ‘90s practical SFX. The film revives the franchise’s sense of danger and stakes by mixing romance with horror, delivering something emotionally resonant and viscerally impactful. While it diverges sharply from the earlier comedic tone, Part III proves the series’ flexibility and capacity for reinvention.
Creative Collapse: Parts IV and V’s Direct-to-Cable Downfall
Sadly, the wheels come off with Return of the Living Dead 4: Necropolis and 5: Rave to the Grave, both made in 2005 and directed by Ellory Elkayem. Shot back-to-back and released direct-to-cable, these films are pale shadows of the earlier entries.
They ditch the original’s clever mix of horror and humor entirely. Instead, we get generic corporate conspiracies, confusing Eastern European settings, weak scripts, and inconsistent zombie characterizations. The zombies lose their unique “brains only” horror and instead act like run-of-the-mill undead. Even the acting is amateurish, with only Peter Coyote standing out briefly as a sinister scientist.
Part 5 further muddies continuity by introducing Trioxin as a rave drug, leading to a chaotic rave/zombie apocalypse scenario that is both baffling and poorly paced. The low-budget effects and uneven pacing betray the exhaustion and lack of passion behind these entries.
These final two films underscore a common fate for franchises that outlive their creative spark—once inventive mythology becomes shallow cliché, and attempts to cash in feel uninspired. Instead of honoring their roots, they become muddled and forgettable.
Why the Series Matters
Despite its uneven legacy, Return of the Living Dead remains important for what it dared to do in horror cinema. The first film’s originality influenced countless horror comedies and redefined how zombies could be portrayed. Its self-awareness and invention paved the way for postmodern horror, where genre is as much about commentary as it is fear.
The third film’s daring shift to tragic body horror further demonstrated the potential for zombie films to explore complex emotional and societal themes beyond gore or giggles.
While the later sequels falter, their failure serves as a cautionary tale about the dangers of diluting distinct voices and creative risks in franchise filmmaking.
Ultimately, Return of the Living Dead survives in cultural memory as a zombie series that captured the spirit of its time—punk rebellion, Cold War paranoia, and genre self-mockery—with flashes of brilliance that continue to entertain and inspire.
In 1993 horror fans were greeted with the release of Return of the Living Dead 3. This third film in the Return of the Living Dead series produced by John Russo ends up being a very good zombie movie and actually has genuine horror that the second film lacked. What ROTLDIII, its writers and directors seem to have left behind was the comedy side of the series which made them cult-classics to begin with.
Taking up directing duty this time around was genre-veteran Brian Yuzna (Beyond Re-Animator) who films this third entry purely on a horror standpoint. This film is serious horror from start to finish. This time around the military is still trying to find a way to use 2-4-5 Trioxin as a way to create zombie soldiers, but ones that could be easily controlled by them. To say that this project hasn’t met with success is an understatement. But it’s the story of the son of the military project director and his girlfriend who dominate the film’s plot. As portrayed by J. Trevor Edmond and Melinda Clarke, these two star-crossed lovers find themselves enmeshed with the dark secret of the project being held in secret. Son soon uses the Trioxin gas to try and ressurect his girlfriend who gets killed early on during an accident. What he gets instead is an undead girlfriend whose hunger for live brains (for some reason the zombies in this ROTLD sequel also feed on other bodily parts) can only be controlled when she causes herself bodily pain through extreme forms of piercing. The rest of the film deals with the father trying to save his son not just from himself and his undead girlfriend but from the hordes of escaped zombies in the facility.
The horror in the film was actually pretty good and this was helped a lot by the gore effects work which surpasses anything the first two films in the series had. The acting was decent enough with Melinda Clarke as the zombified girlfriend putting on a sexy, albeit creepy performance. If it wasn’t for the brain and flesh-eating she sure would’ve made for quite a poster girl for teenage boys.
In the end, Return of the Living Dead 3 continues the series admirably. Despite not having much humor and comedy in the film, this third film in the series more than makes up for it with high levels of gore and a definite sense of horror the first two didn’t much have not to mention a bit of romance which seemed to work.
Through the Shattered Lens 