Late Night Retro Television Review: CHiPs 3.1 and 3.2 “Roller Disco”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Prime!

This week, season three begins with a classic episode!

Episode 3.1 and 3.2 “Roller Disco”

(Dir by Don Weis, originally aired on September 22nd, 1979)

It’s the roller disco episode!

From the moment that I first announced that I would be watching and reviewing CHiPs for this feature, people have been telling me about the legendary roller disco episode.  Having finally reached it, I can say that it lived up to the hype.  You’re not likely to see anything more 70s than the third season premiere of CHiPs.

Now, this was a two-hour episode so there were actually quite a few subplot going on, all of which were typical CHiPs storylines.  In no particular order:

  1. A kid named Mark (Bobby Rolofson) is roller skating around the beach and idolizing three criminals.  Can Baker show him that the good guys always win?
  2. The three criminals are Lita (Helena Kallianiotes), Ty (Fred Williamson), and Romo (Jim Brown).  Lita sets up the targets.  Ty and Romo steal their purses and their wallets and then escape on roller skates.  Ty and Romo are tired of breaking the law.  Lita demands that they continue to steal.  Eventually, it falls to Baker and Ponch to arrest them.
  3. Carlin (Larry Linville) and Franco (Larry Storch) continually cause accidents on the highway.
  4. Rock star Jimmy Tyler (Leif Garrett) is so tired that he sleeps through one of those accidents.  Looking to break free from his well-meaning but overbearing manager (Bill Daily), Jimmy decides to manage his own affairs while staying at Jon Baker’s apartment.

There’s a lot going on but the main plotline is Ponch trying to find celebrities to take part in the annual highway patrol fund raiser.  Even with his big smile, Ponch struggles to charm the celebs.  He pulls over Ed McMahon at one point but fails to recognize him until McMahon drives off.  Gatraer tells Ponch that police work comes first but also tells him that he has to find celebrities.  Gatraer’s been giving Ponch a hard time ever since the first season.  Some things never change.

Fortunately, Jimmy feels guilty for overstaying his welcome at Baker’s apartment and he makes it up to Baker and Ponch by asking his celebrity friends to take part in the fund raiser.  It’s time for a roller disco with the stars!

It all leads to this classic scene:

I recognized a few of the stars, though certainly not all of them.  I recognized Victor French because I’ve been reviewing Highway to Heaven.  I’ve also seen enough old sitcoms that I immediately recognized Robert Mandan, who was apparently the best roller skater in Hollywood.  Melissa Sue Anderson, I knew from Happy Birthday To Me.  Cindy Williams, who got two shout-outs, I knew from American Graffiti.  Is it just me or did Nancy Kulp look kind of lost?  Neither Melissa Sue Anderson nor Cindy Williams seemed to want to talk to her.

The roller disco actually goes on for fifteen minutes, which I appreciated.  The show promised a roller disco and it delivered.  It was like stepping into a time machine and traveling to the 70s.  It was a great way to start season three!

Because of the holidays, this is going to be my final CHiPs review of 2024.  My reviews of this show will return on January 6th!

Late Night Retro Television Review: CHiPs 2.1 “Peaks and Valleys”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Freevee!

This week, the second season begins.

Episode 2.1 “Peaks and Valleys”

(Dir by Phil Bondelli, originally aired on Sept. 16th, 1977)

The second season premiere of CHiPs brings some changes.

Most noticeably, the theme song has been redone and now, instead of being driven by the horn section, it now features a bass-driven disco beat.  From the minute the new version of theme song begin, you know that you’re watching a show that was filmed in the heart of the 70s.

Secondly, the second season premiere is considerably less gritty than any of the episodes that aired during the first season.  If the first season concerned itself with showing the day-to-day duties of the members of the California Highway Patrol, from the mundane to the occasionally exciting, the second season announces from the start that it’s about fast cars, fast motorcycles, and slow motion crash footage.

Ponch is considerably more competent in this episode than he ever was during the first season.  For his part, Getraer no longer seems to dislike Ponch as much as he did just a few months ago.  No mention is made of Ponch being on any sort of departmental probation.  Now, Ponch is as professional and competent as Jon Baker.

Finally, the California High Patrol now has a new chief mechanic.  Harlan Arliss (played by Lou Wagner) is short, sarcastic, and wears a tie along with his white mechanic coat.  Arliss is not impressed with the way Baker and Ponch treat their motorcycles, though he seems to reserve most of his ire for Baker.  (“Your tire pressure is low!”)  Arliss may seem like he is overly critical but he also keeps a really cute dog at the garage.

That said, some things remain the same.  As always, Baker finds himself feeling unappreciated.  The episode opens with a camper the crashes in slow motion.  The driver, Bob Niles (a bearded Troy Donahue), suffers a spinal injury as the result of someone moving him after the accident.  Niles can’t remember exactly who moved him and it appears that Baker, Ponch, and the Highway Patrol might get sued.

Then Baker burns his hand saving a man from a burning vehicle.  And a little child shoots a toy gun at Baker.  And then two rednecks call in a fake emergency so that they can shoot up a police car.  Is it any surprise that both Baker and Ponch are tempted to quit the force and take a job selling used cars for Baker’s high school friend, Stan Bosca (Richard Gates)?

Fortunately, Bob does get his memory back and remember that it was a bunch of construction workers who moved him.  So, it sucks for those well-intentioned workers (hello, lawsuit!) but at least Baker and Ponch are off the hook.  And, after seeing how sleazy the used car business is, Baker and Ponch decide to remain on the force and go disco dancing instead!

Actually, Ponch dances.  Baker watches and smile awkwardly.  It’s interesting that the majority of the episode is centered around Baker having an existential crisis but it all ends by highlighting Ponch on the dance floor. If nothing else, it proves that the people behind the show understood that Wilcox was the actor while Estrada was the one with the big personality.

I enjoyed this episode.  The scenery was nice.  The show made good use of slo mo of doom when Niles crashed his vehicle.  The dog was cute.  And the opening theme song was so catchy that I’m still hearing it hours after watching the show.  With this episode, the second season got off to a good start.

Horror Film Review: Jaws 3 (dir by Joe Alves)


So, this is a strange one.

As the title states, this 1983 film is the third sequel to the Jaws.  As I pointed out in my reviews of the first film and Jaws 2, the first two films all starred Roy Scheider and took place on Amity Island.  In fact, it can be argued that Amity Island was almost as important to the success of the first two films as the shark.  When Martin Brody conquered his fears and got out on the water, it wasn’t just to destroy a shark.  It was also to protect a community under siege.

Well, there’s no such community like Amity Island in Jaws 3.  And there’s no Roy Scheider either.  Instead, our hero is Martin Brody’s son, Mike.  Mike is all grown up and working as the senior marine biologist at SeaWorld Orlando.  Mike is now played by a very young and very bearded Dennis Quaid.  This leads to an interesting situation where Mike — who grew up in New England and whose father was a former New York City cop — has a very pronounced Texas accent.  That’s not a complaint, of course.  I’m from Texas so I’m always happy to see (and hear) a fellow Texan in a movie.  Plus, Dennis Quaid’s a likable actor.  Still, it somehow seems appropriate that the third installment of the Jaws franchise would feature a New Yorker growing up to be a Texan.  I mean, if we’re going to accept that the same outlandish event can keep happening to the members of the same family then I guess anything’s possible.

The other Brody son, Sean, is also featured in the film.  Sean is now played by John Putch and, when he first shows up to visit Mike, he’s dressed like he just got off work at the rodeo.  You have to kind of wonder if maybe the trauma of nearly getting killed in Jaws 2 led to both of the Brody boys rejecting their New England roots and embracing the ways of the west.  Say what you will about Texas and all the states in between El Paso and Los Angeles, we’re pretty much shark free.

Anyway, this is a Jaws films so you can guess what happens.  A big shark ends up getting loose in SeaWorld and Mike tries to close the park down, just to be overruled by the park’s manger, Calvin Bouchard (Lou Gossett, Jr.).  Meanwhile, a hunter named Philip Fitzroyce (Simon MacCorkindale) announces that he will personally track down and kill the shark.  As you might guess just from the fact that his last name is Fitzroyce, Philip is arrogant and speaks with a posh accent.  Mike takes an immediate dislike to him but I was happy whenever Philip showed up, mostly because Simon MacCorkindale gave a performance that was so over-the-top that it was fun to watch.  Whenever MacCorkindale and Gossett got together in the same scene, the film stopped being about the shark and instead became a contest to see who could overenunciate their dialogue with the most style.

(In the end, MacCorkindale won, but only narrowly.  A few years after Jaws 3, Gossett would co-star in The Principal and would go on to secure his spot in the Overenunciation Hall Of Fame by pronouncing the word “drugs” in such a way that I first thought he was talking about druids.)

One of the reasons why Jaws 3 seems odd when watched today is because it was originally released in 3-D.  (In fact, the film’s original title was Jaws 3-D.)  As a result, there’s a lot of scenes of people either walking towards or pointing directly at the camera.  Whenever anyone holds up a pole or a harpoon or anything similar, you know that they’re going to end up pointing the end of it straight at the viewer.  At the start of the film, when the shark bites a fish in half, the fish’s head ominously floats closer and closer to the camera.  There’s a lot of scenes that were obviously designed to make audiences says, “Oh my God!  I feel like I could reach out and touch it!” but, in the non-3D version, those scenes are just weirdly paced and slightly out-of-focus.  (At one point during the film, the picture was so blurry that I actually checked to make sure I had my contacts in.)

Add to that, there’s more than few scenes where it’s obvious that the shark has been superimposed into the action.  If the first two Jaws films featured big sharks, Jaws 3 often seems to feature a cartoon shark.  In short, what may have been impressive in a theater in 1983 to an audience wearing special glasses is far less impressive when you’re watching the movie at 3 in the morning on AMC.

The other weird thing about this film is that it was actually filmed at SeaWorld Orlando.  I’m going to guess that the film was supposed to serve as a 99-minute advertisement and a lot of time is devoted to people talking about how much they love SeaWorld.  At the same time, this film also features the park’s manager refusing to shut down the park and basically putting everyone’s life in danger.  If anything, the film’s main message seems to be, “If you go to SeaWorld, you’ll die.”  You have to wonder if some executive lost his job after Jaws 3 came out.

Anyway, Jaws 3 is a silly movie that never quite comes to life in the way that both Jaws and, to a lesser extent, Jaws 2 did.  Yes, the shark’s ruthless and we get to hear the familiar music and there’s some cute dolphins but otherwise, the movie itself is just kind of bland.  Rumor has it that Jaws 3 was originally going to be a comedy called Jaws 3 People 0.  That probably would have made for a more memorable movie but, at the same time, I got some good laughs out of the scene where the tourists in an underwater tunnel realized that a shark was watching them so, in the end, everything worked out for the best.