The Philadelphia Film Critics Circle has announced its picks for the best of 2023! Here’s what won in Philadelphia!
Best Film Winner: Poor Things Runner-Up: Oppenheimer
Best Director Winner: Yorgos Lanthimos – Poor Things Runner-Up: Christopher Nolan – Oppenheimer
Best Actress Winner: Emma Stone – Poor Things Runner-Up: Lily Gladstone – Killers of the Flower Moon
Best Actor Winner: Cillian Murphy – Oppenheimer Runner-Up: Jeffrey Wright – American Fiction
Best Supporting Actress Winner: Da’Vine Joy Randolph – The Holdovers Runner-Up: Julianne Moore – May December
Best Supporting Actor Winner: Robert Downey Jr. – Oppenheimer Runner-Up: Charles Melton – May December
Best Animated Film Winner: The Boy And The Heron Runner-Up: Robot Dreams
Best Foreign Film Winner: The Boy And The Heron Runner-Up: Anatomy Of A Fall
Best Documentary Winner: 20 Days In Mariupol Runner-Up: Still: A Michael J. Fox Movie
Best Cinematography Winner: Oppenheimer Runner-Up: Poor Things
Best Breakthrough Performance Winner: Charles Melton – May December Runner-Up: Abby Ryder Fortson – Are You There God? It’s Me Margaret
Best Directorial Debut Winner: Celine Song – Past Lives Runner-Up: Cord Jefferson – American Fiction
Best Screenplay Winner: Poor Things Runner-Up: Oppenheimer
Best Score/Soundtrack Winner: Oppenheimer Runner-Up: Poor Things
Best Ensemble Winner: Oppenheimer Runner-Up: Poor Things
Cheesesteak Award – for a film meant to recognize a blockbuster that’s hard to ignore Winner: Mission: Impossible – Dead Reckoning Part One Runner-Up: Godzilla Minus One
Canada has spoken! Today, the Toronto Film Critics Association named their picks for the best of 2023!
Best Film Winner: The Zone Of Interest Runners-Up: All of Us Strangers & Killers of the Flower Moon
Best Director Winner: Jonathan Glazer – The Zone Of Interest Runners-Up: Martin Scorsese – Killers of the Flower Moon & Justine Triet – Anatomy Of A Fall
Best Original Screenplay Winner: Barbie Runners-Up: Anatomy Of A Fall & Past Lives
Best Adapted Screenplay Winner: Killers of the Flower Moon Runners-Up: All of Us Strangers & Poor Things
Best Lead Performance Winners: Sandra Hüller – Anatomy Of A Fall & Lily Gladstone – Killers of the Flower Moon Runners-Up: Paul Giamatti – The Holdovers, Andrew Scott – All of Us Strangers, Emma Stone – Poor Things & Kôji Yakusho – Perfect Days
Best First Feature Winner: Rye Lane Runners-Up: American Fiction & Past Lives
Allan King Best Documentary Winner: 20 Days in Mariupol Runners-Up: The Eternal Memory, Four Daughters & Swan Song
Best Foreign Language Film Winner: Fallen Leaves Runners-Up: Anatomy Of A Fall & The Zone Of Interest
Best Animated Feature Winner: Robot Dreams Runners-Up: The Boy and the Heron & Spider-Man: Across The Spider-Verse
Best Supporting Performance Winner: Ryan Gosling – Barbie & Da’Vine Joy Randolph – The Holdovers Runners-Up: Robert De Niro – Killers of the Flower Moon, Robert Downey, Jr. – Oppenheimer, Glenn Howerton – BlackBerry & Charles Melton – May December
Best Breakthrough Performance Winner: Teyana Taylor – A Thousand And One Runners-Up: Charles Melton – May December & Dominic Sessa – The Holdovers
Best Performance In A Canadian Film Winner: Glenn Howerton – BlackBerry Runners-Up: Jay Baruchel – BlackBerry & Théodore Pellerin – Solo
Here are the nominations of the San Diego Film Critics Association! The winners will be announced on December 19th!
Best Picture
AMERICAN FICTION
ARE YOU THERE GOD? ITS ME, MARGARET.
THE HOLDOVERS
KILLERS OF THE FLOWER MOON
OPPENHEIMER
Best Director
Kelly Fremon Craig – ARE YOU THERE GOD? ITS ME, MARGARET.
Greta Gerwig – BARBIE
Cord Jefferson – AMERICAN FICTION
Christopher Nolan – OPPENHEIMER
Martin Scorsese – KILLERS OF THE FLOWER MOON
Best Actor
Colman Domingo – RUSTIN
Zac Efron – THE IRON CLAW
Paul Giamatti – THE HOLDOVERS
Cillian Murphy – OPPENHEIMER
Jeffrey Wright – AMERICAN FICTION
Best Actress
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET.
Lily Gladstone – KILLERS OF THE FLOWER MOON
Sandra Hüller – ANATOMY OF A FALL
Margot Robbie – BARBIE
Emma Stone – POOR THINGS
Best Supporting Actor
Sterling K. Brown – AMERICAN FICTION
Robert Downey Jr. – OPPENHEIMER
Ryan Gosling – BARBIE
Charles Melton – MAY DECEMBER
Mark Ruffalo – POOR THINGS
Best Supporting Actress
Jodie Foster – NYAD
Sandra Hüller – THE ZONE OF INTEREST
Rachel McAdams – ARE YOU THERE GOD? ITS ME, MARGARET.
Julianne Moore – MAY DECEMBER
Da’Vine Joy Randolph – THE HOLDOVERS
Best Comedic Performance
Michael Cera – BARBIE
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET.
Ryan Gosling – BARBIE
Nathan Lane – DICKS: THE MUSICAL
Mark Ruffalo – POOR THINGS
Best Youth Performance (For a performer under the age of 18)
Joe Bird – TALK TO ME
Christian Convery – COCAINE BEAR
Abby Ryder Fortson – ARE YOU THERE GOD? ITS ME, MARGARET.
Jude Hill – A HAUNTING IN VENICE
Milo Machado-Graner – ANATOMY OF A FALL
Best Original Screenplay
Samy Burch – MAY DECEMBER
Greta Gerwig, Noah Baumbach – BARBIE
David Hemingson – THE HOLDOVERS
Celine Song – PAST LIVES
Justine Triet, Arthur Harari – ANATOMY OF A FALL
Best Adapted Screenplay
Percival Everett, Cord Jefferson – AMERICAN FICTION
Kelly Fremon Craig, Judy Blume – ARE YOU THERE GOD? ITS ME, MARGARET.
Jonathan Glazer – THE ZONE OF INTEREST
Christopher Nolan, Kai Bird, Martin Sherwin – OPPENHEIMER
Eric Roth, Martin Scorsese – KILLERS OF THE FLOWER MOON
Best First Feature (Director)
Chloe Domont – FAIR PLAY
Cord Jefferson – AMERICAN FICTION
Danny Philippou, Michael Philippou – TALK TO ME
A.V. Rockwell – A THOUSAND AND ONE
Celine Song – PAST LIVES
Best Documentary
20 DAYS IN MARIUPOL
AMERICAN SYMPHONY
KOKOMO CITY
LITTLE RICHARD: I AM EVERYTHING
STILL: A MICHAEL J. FOX MOVIE
Best Animated Film
THE BOY AND THE HERON
CHICKEN RUN: DAWN OF THE NUGGET
NIMONA
ROBOT DREAMS
SPIDER-MAN: ACROSS THE SPIDER-VERSE
Best Foreign Language Film
ANATOMY OF A FALL
FALLEN LEAVES
GODZILLA MINUS ONE
MONSTER
THE ZONE OF INTEREST
Best Editing
Nick Houy – BARBIE
Jennifer Lame – OPPENHEIMER
Yorgos Mavropsaridis – POOR THINGS
Thelma Schoonmaker – KILLERS OF THE FLOWER MOON
Laurent Sénéchal – ANATOMY OF A FALL
Best Cinematography
Rodrigo Prieto – BARBIE
Rodrigo Prieto – KILLERS OF THE FLOWER MOON
Robbie Ryan – POOR THINGS
Hoyte Van Hoytema – OPPENHEIMER
Dariusz Wolski – NAPOLEON
Best Production Design
Ruth De Jong – OPPENHEIMER
Jack Fisk – KILLERS OF THE FLOWER MOON
Sarah Greenwood – BARBIE
Arthur Max – NAPOLEON
James Price, Shona Heath – POOR THINGS
Best Visual Effects
GODZILLA MINUS ONE
JOHN WICK: CHAPTER 4
MISSION IMPOSSIBLE: DEAD RECKONING
OPPENHEIMER
POOR THINGS
Best Costume Design
David Crossman, Janty Yates – NAPOLEON
Jacqueline Durran, Charlotte Finlay, Hope Slepak – BARBIE
Ellen Mirojnick – OPPENHEIMER
Holly Waddington, Vincent Dumas, Zsuzsa Stenger – POOR THINGS
Jacqueline West – KILLERS OF THE FLOWER MOON
Best Sound Design
GODZILLA MINUS ONE
MAESTRO
MISSION IMPOSSIBLE: DEAD RECKONING
OPPENHEIMER
THE ZONE OF INTEREST
Best Use of Music
AIR
ARE YOU THERE GOD? ITS ME, MARGARET.
BARBIE
THE HOLDOVERS
MAESTRO
Best Stunt Choreography
JOHN WICK: CHAPTER 4
THE KILLER
MISSION IMPOSSIBLE: DEAD RECKONING
NAPOLEON
POLITE SOCIETY
Best Ensemble
AIR
BARBIE
A HAUNTING IN VENICE
THE HOLDOVERS
OPPENHEIMER
The Utah Film Critics Association has announced the nominees for the best of 2023! The winners will be announced on January 6th, 2024!
Best Picture
The Holdovers
Killers of the Flower Moon
Oppenheimer
Past Lives
Poor Things
Best Achievement in Directing
Celine Song – Past Lives
Christopher Nolan – Oppenheimer
Greta Gerwig – Barbie
Martin Scorsese – Killers of the Flower Moon
Yorgos Lanthimos – Poor Things
Best Lead Performance, Male
Andrew Scott – All of Us Strangers
Bradley Cooper – Maestro
Cillian Murphy – Oppenheimer
Jeffrey Wright – American Fiction
Paul Giamatti – The Holdovers
Best Lead Performance, Female
Carey Mulligan – Maestro
Emma Stone – Poor Things
Greta Lee – Past Lives
Lily Gladstone – Killers of the Flower Moon
Natalie Portman – May December
Best Supporting Performance, Male
Charles Melton – May December
Dominic Sessa – The Holdovers
Mark Ruffalo – Poor Things
Robert Downey Jr. – Oppenheimer
Ryan Gosling – Barbie
Best Supporting Performance, Female
America Ferrera – Barbie
Da’Vine Joy Randolph – The Holdovers
Emily Blunt – Oppenheimer
Rachel McAdams – Are You There God? It’s Me, Margaret.
Sandra Hüller – The Zone of Interest
Best Ensemble Cast
Air
Barbie
The Holdovers
The Iron Claw
Oppenheimer
Vice/Martin Award for Performance in a Science-Fiction, Fantasy, or Horror Film
Bradley Cooper – Guardians of the Galaxy Vol. 3
Chris Pine – Dungeons & Dragons: Honor Among Thieves
Emma Stone – Poor Things
Iman Vellani – The Marvels
Nicolas Cage – Renfield
Best Original Screenplay
Celine Song – Past Lives
David Hemingson – The Holdovers
Greta Gerwig and Noah Baumbach – Barbie
Justine Triet and Arthur Harari – Anatomy of a Fall
Samy Burch – May December
Best Adapted Screenplay
Christopher Nolan – Oppenheimer
Cord Jefferson – American Fiction
Eric Roth and Martin Scorsese – Killers of the Flower Moon
Kelly Fremon Craig – Are You There God? It’s Me, Margaret.
Tony McNamara – Poor Things
Best Cinematography
Barbie – Rodrigo Prieto
Killers of the Flower Moon – Rodrigo Prieto
Maestro – Matthew Libatique
Oppenheimer – Hoyte van Hoytema
Poor Things – Robbie Ryan
Best Original Score
Killers of the Flower Moon
Oppenheimer
Past Lives
Poor Things
Spider-Man: Across the Spider-Verse
Best Film Editing
Barbie
The Holdovers
Killers of the Flower Moon
Oppenheimer
Spider-Man: Across the Spider-Verse
Best Visual Effects
The Creator
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Poor Things
Spider-Man: Across the Spider-Verse
Best Documentary Feature
20 Days in Mariupol
American Symphony
Beyond Utopia
The Mission
Still: The Michael J. Fox Story
Best Animated Feature
The Boy and the Heron
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse
Teenage Mutant Ninja Turtles: Mutant Mayhem
Best Non-English Feature
Anatomy of a Fall
Godzilla Minus One
Society of the Snow
The Taste of Things
The Zone of Interest
The Boston Online Film Critics Association has announced their picks for the best of 2023! While the majority of the awards went Oppenheimer, Killers of the FlowerMoon was named Best Picture of the year.
Top 10 of 2023
1. KILLERS OF THE FLOWER MOON
2. OPPENHEIMER
3. THE HOLDOVERS
4. PAST LIVES
5. MAY DECEMBER
6. BARBIE
7. THE ZONE OF INTEREST
8. AMERICAN FICTION
9. POOR THINGS
10. ANATOMY OF A FALL
Best Director Christopher Nolan, OPPENHEIMER
Best Actress Lily Gladstone, KILLERS OF THE FLOWER MOON
Best Actor Cillian Murphy, OPPENHEIMER
Best Supporting Actor Charles Melton, MAY DECEMBER
Best Supporting Actress Da’Vine Joy Randolph, THE HOLDOVERS
Best Screenplay David Hemingson, THE HOLDOVERS & Samy Burch, MAY DECEMBER (TIE)
Best Ensemble OPPENHEIMER
Best Score Ludwig Göransson, OPPENHEIMER
Best Cinematography Hoyte va Hoytema, OPPENHEIMER
Best Editing Jennifer Lame, OPPENHEIMER
Best Documentary MENUS-PLAISIRS – TROISGROS
Best International Feature THE ZONE OF INTEREST
Best Animated Film SPIDER-MAN: ACROSS THE SPIDER-VERSE
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay. Today’s film is 1983’s Night Partners! It can be viewed on Tubi.
Lauren Hensley (Diana Canova) is a divorced mother who has a nice house in Bakersfield, California. Her best friends and neighbors are housewife Elizabeth McGuire (Yvette Mimieux) and Elizabeth’s husband, a cop named Glenn (Arlen Dean Snyder). One night, after spending the day with the McGuires, Lauren returns to her home and is attacked by three burglars.
For Lauren, the crime is not even the worst part of the night. The worst part is when the police don’t even seem to care that much about her suffering and instead take a “just-the-facts” approach to getting the details to what she’s been through. Glenn attempts to explain to both Lauren and Elizabeth that cops see terrible things every day and, if they seem desensitized to it all, that’s just their way to handling the stress of the job. Lauren, however, feels that the cops need a unit that provides the same support for victims that the criminals receive from their lawyers and social workers.
At a community meeting, Lauren proposes her idea to the police chief, John Wilson (Larry Linville). When Wilson replies that there is no money in the budget, Lauren suggests that maybe the program could be staffed by volunteers. She then proceeds to volunteer herself and Elizabeth. Wilson agrees, but on the requirement that Lauren and Elizabeth first attend the police academy and train with the officers. Under the watchful eye of the gruff but kindly Joe Kirby (M. Emmet Walsh), the two middle-aged housewives run obstacle courses and learn about conflict resolution. And while the conflict resolution lessons make sense, I’m not sure what the point of having them do the obstacle course was.
Eventually, Lauren and Elizabeth become quite good at their jobs, providing comfort to the victims and getting information that helps the police put away criminals, like the serial rapist (a young M.C. Gainey) who has been stalking the streets of Bakersfield. Of course, it takes them a while to get good at the job. When Elizabeth and Lauren are first sent out on the streets, they can’t even keep the police codes straight and they accidentally call in a robbery code when they’re instead just letting the dispatcher know that they’re on break. Bizarrely, when Lauren and Elizabeth are not at a crime scene talking to a victim, they’re just supposed to drive around in a beat-up patrol car. Neither one of them has the power to arrest anyone because they’re just volunteers. In fact, they’re supposed to stay out of the way until the police specifically call for them to come to a crime scene. So, why are they patrolling the city like real cops? It seems like that would basically be a lawsuit waiting to happen.
Night Partners was obviously designed to serve as a pilot for a series where Laruen and Elizabeth would comfort victims and help to solve crimes. The two lead actresses are likable and M. Emmet Walsh is particularly effective as their supervisor. That said, the film itself can’t decide if it wants to be a hard-hitting crime drama or a comedy about two housewives trying to make it as cops. Of course, there’s no reason why it couldn’t be both. Some of the best cops shows have had elements of dark, gallows humor. But this film’s tone is so inconsistent that the comedic scenes seem to be taking place in an entirely different universe from the dramatic scenes.
As someone who strongly believes that the right of the victims need to be given as much weight as the rights of the criminals, I appreciated the film’s message. I just wish it had been delivered a bit more effectively.
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 reviewingthe Canadian sitcom, Check it Out, which ran in syndication from 1985 to 1988. The entire show is currently streaming on Tubi!
Attention shoppers, tonight’s episode is weird.
Episode 1.11 “Love on Sale”
(Dir by Alan Erlich, originally aired on December 11th, 1985)
Weird episode.
Mrs. Cobb (Barbara Hamilton) wants to open up a store in Saudi Arabia so she assigns Howard to give a speech to a group of “Arab investors,” while she spends the night seducing a sheik. Howard agrees and is told that, if everything works out, he could end up as the President of Cobb’s International. Going from being the manager of grocery store to an international business tycoon would be quite an accomplishment. Of course, Mrs. Cobb also expects Howard to dress up like Peter O’Toole in Lawrence of Arabia. This leads to both Edna and Murray punching him out because they initially don’t recognize him in his costume.
Meanwhile, Murray is trying to raise $150 so that he can buy Howard’s old car, which is apparently sitting on a bunch of milk crates somewhere. Murray is a teenager who doesn’t even know how to drive but he really wants that car. How can Murray earn $150?
(Just consider that apparently, Murray doesn’t even make $150 a week from his job at Cobb’s.)
After a customer gives Murray a five dollar tip after Murray introduces him to a female shopper, Murray decides that he’ll start hooking up the single shoppers in return for a ten dollar payment. Howard thinks that this is a fine idea, as long as Murray doesn’t try to hook up anyone who is married. (Personally, I can’t think of anything that would make grocery shopping more awkward than having a 15 year-old bagboy trying to convince me to date someone while I’m looking over the produce but whatever.) Soon, Murray is making all sorts of money but then a Vice detective shows up and arrests Howard for running an escort service.
While dressed like Lawrence of Arabia, Howard is thrown in jail. In his cell, there are two burly men who continually threaten to beat him up, a skinny guy who talks about how he ate someone’s face, and a male lawyer who is wearing hot pink high heels. Murray, Christian, and Alf show up at the station and explain that they were all involved in getting people dates at Cobbs and, as a result, they’re all tossed in the cell as well.
Somehow, Howard and his employees do get released because, the next day, Howard comes to work and discovers that every swinger in the city is eager to shop at his store and Mrs. Cobb is not upset about Howard missing the meeting with the investors because Mrs. Cobb was able to seduce the sheik. Howard says that he can’t wait to be in charge of Cobb’s International because then he’ll be able to get a harem, which leads to Edna punching him.
Weird, weird episode. It’s hard to even review this episode because it really does take place in its own rather surreal reality. That said, I kind of appreciated the episode’s nonstop jokiness. There wasn’t a serious moment to be found here and, while some of the jokes fell flat, some of them worked surprisingly well. It’s an extremely silly episode that doesn’t add up to much but it’s just weird enough to be entertaining.
It’s the holidays and, as a result, I haven’t had much time to watch television this week. In fact, outside of the stuff that I watch for my Retro Television Reviews, I only watched three shows this week.
All In The Family (YouTube)
On Friday night, my friend Pat suggested checking out the 1976 Christmas episode of All In the Family, in which a draft-dodging friend of Mike’s visits from Canada. He shows up at the Bunker household, right on Christmas day! At the same time, a friend of the Archie Bunker’s is visiting. Pinky lost his son in Vietnam.
Now, really, the whole conflict in this episode could have been avoided if the draft dodger had just kept his mouth shut when Archie started asking him what was so great about living in Canada. But the dodger felt that he had to reveal the truth about why he went up north. Archie wanted to kick him out but Pinky was understanding and forgiving.
This was a well-acted episode with a powerful message but I do have to admit that I could kind of see Archie’s point. It’s his house! He’s the one who paid for the Christmas dinner that they’re all eating. If he doesn’t want to have a draft dodger sitting at the table in his house and eating the food that he paid for, that’s actually Archie’s right. Still, I’m glad that Archie didn’t kick the draft dodger out because the guy actually was reasonably polite and everyone should have some place to go on Christmas.
Why would anyone agree to hold a charity event at Hell’s Kitchen? That’s what I found myself wondering as I watched the latest episode of Hell’s Kitchen on Thursday. Surely, they’ve seen enough episodes of this show to know that they’re going to be running the risk of getting raw chicken and rubbery scallops.
Anyway, I was sad to see Donya go. I think the only reason Ramsay is keeping Jason around is for the drama. Go Ryan!
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 is currently streaming on Tubi!
It’s time for a new school year and a new addition to the Kotter family!
Episode 3.2 “And Baby Makes Four, Part One”
(Dir by Bob Claver, originally aired on September 15th, 1977)
This episode opens with the sad scene of Gabe Kotter staring at himself in the bathroom mirror and telling himself a joke about his Uncle Charlie. Even Gabe is not impressed with the joke and tells himself that he needs to be more funny. Poor, Gabe!
Watching this scene, I was reminded of all the stories I’ve read about how much Gabe Kaplan and Marcia Strassman disliked each other and how Strassman apparently really couldn’t stand having to listen to and laugh at Kaplan’s jokes. Apparently, by the time the third season rolled around, the hostility between Kaplan and Strassman was so pronounced and obvious that even the actors playing the Sweathogs were forced to take sides, with Ron Pallilo siding with Strassman, Robert Hegyes and Lawrence Hilton-Jacobs siding with Kaplan, and John Travolta trying to get along with everyone. On the one hand, the opening scene here once again reminds us that Gabe is compulsive joke teller. On the other hand, it’s hard not to feel that it was written to give Strassman a break from Kaplan.
Of course, the very next scene features Gabe and Julie awkwardly interacting, as Gabe tells the very pregnant Julie everything that she should do if she goes into labor while Gabe is at school. Gabe tells Julie to call a cab, call the school and tell Woodman and then Gabe will call Dr. Melman and they’ll all meet at the hospital. Julie assures Gabe that she’s not due for another week but Gabe says that he’s not sure that the baby knows that. He then tells a joke to the baby while Julie grimaces.
It’s the first day of school! Horshack is super excited while Epstein and Washington are still thinking about the fun they had during the 1977 New York City blackout. (Epstein gave lemonade to “people running with a TV set.” Washington “ran with a TV set.”) Barbarino is not at all excited because, just before school began, he received a letter telling him that he was going to have to repeat the 10th Grade. Barbarino explains that he skipped the exam that all the students were required to take to be promoted into the next grade but he thought that Mr. Kotter was going to handle it for him.
(Myself, I’m just shocked to learn that the Sweathogs were only supposed to be in the 10th Grade when the show began. Considering that Horshack and Epstein both appear to be in their 30s, Washington appears to be in his mid-twenties, and Barbarino looks like he’s around 20, I’m going to guess that getting held back is not necessarily a new experience for this group.)
Determined not to be held back, Barbarino decides to sit in the classroom as if nothing has happened and he’s been promoted with the rest of the Sweathogs. When Gabe arrives, he’s not surprised to see Barbarino in his classroom, mostly because Gabe doesn’t know that Barbarino was held back. It’s not until Woodman, ordered by Principal Lazarus to personally welcome back each class, steps into the room that Barbarino’s status at a 10th Grader is revealed.
Gabe is shocked to hear that Barbarino was held back. Barbarino says that Gabe was supposed to take care of it. Gabe says that he did when he arranged for Barbarino to take a makeup exam. But Barbarino thought that, when Gabe said he would take care of it, Gabe would sneak into the principal’s office and fix the records Barbarino didn’t realize he still actually had to take the test and now, his dreams of being “a doctor …. or a longshoreman” have been put at risk.
Woodman laughs maniacally as Barbarino leaves the classroom. Hitting his breaking point, Gabe kicks Woodman out of the classroom and tells him to stop interrupting his class.
Rather than go to his new classroom, Barbarino goes to the Kotter apartment, where he tells Julie about his problems. Julie is a bit more concerned with the fact that she’s having contractions. When she gets out her suitcase and calls for a cab, Barbarino worries that she’s leaving Gabe. When she says she’s going to the hospital, Barbarino worries that his story made her sick.
Meanwhile, Woodman — banned from entering Gabe’s classroom — uses the PA system to let him know that Julie has gone into labor. Gabe rushes from his classroom, accompanied by Horshack, Washington, and Epstein. I kind of doubt Julie is going to be happy to see the Sweathogs at the hospital but whatever. Julie’s stuck with them in her life.
And so ends Part One of this special three-part episode! This episode was a bit uneven. The scene between Gabe Kaplan and Marcia Strassman felt a bit strained, largely due to the fact that the two of them could obviously barely stand to look at each other while delivering their lines. John Travolta was charming as Barbarino but his co-stars were all obviously getting a bit old to still be playing high school students. As always, John Sylvester White made me laugh with his portrayal of Woodman’s growing insanity. The studio audience was very loud as they went out of their way to make sure that anyone watching knew how much they loved John Travolta.