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 1973’s The Bait! It can be viewed on YouTube!
Tracey Fleming (Donna Mills) is the widow of a cop and an undercover detective herself. Unfortunately, her superior, Captain Maryk (Michael Constantine), is not convinced that Tracey has what it takes to be in a dangerous situation and, as a result, Tracey spends most of her time riding the bus and busting perverts and low-level drug dealers. When four woman are raped and murdered by the same serial killer, Tracey writes up a report on what she thinks is motivating the killer. Captain Maryk is, at first, skeptical about Tracey’s claim that the killer is fueled by a puritanical rage but, when it turns out that the killer has been wiping off his victims’s lipstick (just as Tracey speculated that he was), Maryk starts to think that Tracey might have something to offer the investigation.
Tracey becomes the bait in an operation to lure out the killer. Leaving behind her son and her mother, Tracey moves into an apartment in the neighborhood that is believed to be the center of the killer’s activities. Tracey is given a job as a survey taker and soon, she’s walking around the neighborhood and asking random men for their opinions on current events and women’s liberation. A local waitress (Arlene Golonka) recognizes Tracey as a detective but Tracey lies and say that she’s no longer with the force. When the killer makes the waitress his next victim, Tracey becomes even more determined to capture him but will she able to get Marsyk and the rest of the force to give her the room to investigate the murders?
This may sound like an intriguing whodunit but, for some reason, The Bait reveals early on that the murderer is a bus driver named Earl Stokely (played, in a very early performance, by William Devane). There’s really nothing to be gained by revealing the killer’s identity as early as the film does. Perhaps if the film was split between scenes of Tracey investigating the neighborhood and Earl stalking Tracey, that would have generated some sort of suspense but, with the exception of one bus ride, Tracey and Earl barely even interact before he comes after her at the film’s end. Devane does give a good performance as a homicidal lunatic but, when viewed today, it’s impossible to watch him in this film without spending most of the time thinking, “Hey, that’s the usually Kennedyesque William Devane, playing a killer bus driver!”
I was not surprised to learn that The Bait was intended to be a pilot for a weekly television series that would have followed the future investigations of Tracey Fleming. Donna Mills was likable in the lead role and she had a good chemistry with the other actors playing her colleagues so it’s easy to imagine a series in which Tracey solved a new case every week while Marsyk continually underestimated her. Ultimately, though, that series never happened and The Bait would be the sole televised adventure of Detective Tracey Fleming.
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!
This week, Julie’s sister shows up and Juan Epstein falls in love.
Episode 2.7 “Sweathog, Nebraska Style”
(Dir by Bob LaHendro, originally aired on November 11th, 1976)
Gabe tells Julie about his Uncle Oscar, who was harassed one day by three bikers and who responded by “driving over three motorcycles in the parking lot.”
Unfortunately, Julie is not really interested in jokes this week. Her teenage sister, Jenny (Susan Pratt), suddenly shows up in Brooklyn and explains that she has left Nebraska because she had a fight with her longtime boyfriend, Roger Abernathy. Julie insists that Jenny attend classes at Buchanan High but is horrified when Jenny promptly starts to date Juan Epstein! Julie even goes up to the school to complain to the principal, Mr. Lazarus, about her sister dating a Sweathog. (Never mind, of course, that Julie herself married a former Sweathog.) This episode also establishes that the never-seen Mr. Lazarus is apparently best friends with Juan Epstein.
Jenny finally agrees to return to Nebraska but just because Epstein is planning on going back with her. Not even Barbarino and Freddie dressing up as farmers and Horshack putting on a cow outfit can convince Epstein to stay in New York. But then Roger Abernathy calls from Nebraska, apologizes for arguing with Jenny, and Jenny dumps Epstein and heads back home alone.
After Jenny leaves, Gabe tells Julie about his uncle SitDownThere Kotter, who got that name because of the time he stood up in a movie theater and everyone yelled, “Hey, sit down there!”
“That is the worst joke I’ve ever heard in my entire life,” Julie replies. Gabe looks sincerely hurt.
Actually, Julie doesn’t come across particularly well in this episode, flat out announcing that Juan Epstein is not good enough for her sister and basically acting like the biggest snob in Brooklyn. It’s hard not to feel bad for Epstein, who seems to have genuine feelings for Jenny but who gets rather abruptly dumped at the last minute. For all the talk about how moving to Nebraska would be a strange thing for Epstein to do, it probably would have also been a good thing for him. He would be free of his reputation for “being most likely to take a life” and he could start his own life all over again. In the end, though, Jenny abandons him and returns to Roger. According to the IMDb, this is Jenny’s only appearance on WelcomeBack Kotter, so I’m going to assume that things went well for her back in Omaha.
Let’s move on.
Episode 2.8 “Sadie Hawkins Day”
(Dir by Bob LaHendro, originally aired on November 18th, 1976)
Gabe tells Julie about his cousin Shermie, who didn’t start talking until he was 9 years old. Shermie’s first words were “cereal bowl.”
It’s time for the Sadie Hawkins Day Dance at Buchanan High! Barbarino is scandalized by the idea of girls asking out boys. “You know when girls should be able to ask us out?” Barbarino tells Horshack, “When they can get us in …. trouble.” Barbarino does, however, give Horshack some advice on how to get a date. His hair should always look like it’s been dried by the wind. Horshack should always use the “Barbarino stance,” which is defined as looking like you don’t care one way or the other. Barbarino sings his Ba-Ba-Barbarino song while showing Horshack how to relax. The audience loves it.
Barbarino is not the only person who has an issue with Sadie Hawkins Day. Mr. Woodman hides out in Gabe’s class and pretends to be a student in order to prevent Ms. Fishbeck from asking him out. Gabe tells Woodman that no one is going to mistake him for a Sweathog.
“Hi there,” Woodman replies, doing his best Freddie “Boom Boom” Washington impersonation.
Eventually, Ms. Fishbeck does manage to track down Mr. Woodman, hiding in the teacher’s lounge and jumping out of a cupboard. Barbarino, however, is less lucky than either Woodman or Fishbeck. With the day of the dance rapidly approaching, Barbarino doesn’t have a date! Barbarino is so self-absorbed that he doesn’t even realize when someone is trying to work up the courage to ask him out. Later, when one girl does find the courage to ask Barbarino to the dance, Barbarino turns her down because he doesn’t want anyone to learn that he didn’t get a date until the day before the dance. Gabe points out that Barbarino’s actions don’t make any sense. “It’s not easy being a living legend,” Barbarino explains.
Despite not having a date, Barbarino does show up at Buchanan High on the night of the dance. However, instead of joining everyone in the courtyard, he decides to sit in Gabe’s classroom. Gabe finds him in the room and starts to tell Barbarino a story about his time as a student at Buchanan High. “No more stories!” Barbarino begs before heading down to the courtyard. Barbarino confesses to the other Sweathogs that he doesn’t have a date. However, Judy Borden (Helaine Lembeck), making her first appearance since the end of the first season, reveals that she doesn’t have a date either. Quickly adopting the Barbarino Stance, Barbarino becomes Judy’s date. Everyone dances and, even though we’re supposed to laugh at Barbarino ending up with the loud and obnoxious Judy, they actually make a really cute couple.
As the dance wraps up, Gabe tells Julie about his Uncle Atlas, who used to play handball with a guy named Morty.
This episode worked largely due to the performance of John Travolta, who does a good job of portraying both Barbarino’s well-meaning stupidity and his (often hidden) sensitivity. On the one hand, Barbarino had no one to blame but himself. On the other hand, the scene where gazed out the classroom window at all of his friends having fun was actually a little heart-breaking. Personally, I hope things work out for Barbarino and Judy. They’re a great couple!
Welcome to 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 T. and T., a Canadian show which ran in syndication from 1987 to 1990. The show can be found on Tubi!
This week, Amy loses her car and her mind!
Episode 1.11 “Junkyard Blues”
(Dir by Dan McCutcheon, originally aired on March 21st, 1988)
“In this episode,” Mr. T tells us, “Amy’s car goes missing and so does Amy. And I finally get my day in court!”
Amy is not having a good day. She’s running later for court so she parks her car in a no-parking zone. When she gets to court, she discovers that she forgot to bring an important file. Fortunately, the judge delays the start of the trial until Amy is prepared to proceed. (Canadian judges are super nice!) T.S. Turner tells Amy not to worry.
“Even good guys have a bad day!” he tells her.
Amy’s day is just about to get worse because, upon leaving the courthouse, she discovers that her car has been towed! She goes from lot to lot, trying to find who towed her car but everyone tells her the same thing. None of them towed a ’78, black VW convertible. Amy tracks down the only witness to the car being taken, a 14 year-old named Sydney (Tara Strong). Sydney is an aspiring journalist and she declares that Amy’s car getting stolen “could be the story that I’ve been waiting for!”
Amy finally returns to the office and, after snapping at administrative assistant Sophie, Amy says, “Pokey’s been stolen!”
“Why would any want to steal Pokey?” Sophie asks.
“It’s a classic! They just don’t make cars like that anymore!” Amy shouts.
“Easy, Amy,” T.S. says, “If it’s stolen, I’ll find it for you.”
Amy, however, is determined to find the car herself. T.S. objects and points out that he’s the private investigator and that Amy is the attorney who is due in court on several important matters. In a move that would get an American lawyer disbarred, Amy tells T.S. to handle all of her court stuff while she looks for her car. She then thinks that she sees Pokey being driven past the office so she runs outside and chases after it, yelling, “That’s my car!”
Somehow, 14 year-old Sydney figures out that Amy’s car has been taken to a chop shop. While Amy takes an adolescent that she barely knows into a potentially deadly situation, T.S. Turner goes to court and plays the role of lawyer. Fortunately, he’s able to get yet another continuance, which is a bit anticlimactic when you consider the potential of Mr. T playing someone pretending to be an attorney.
While T.S. potentially ruins her client’s life, Amy and the teenage girl who she has known for less than a day break into a criminal-controlled junkyard so that they can search for her car. As I watched Amy and Sydney sneak around the auto yard, I found myself wondering if Sydney had parents and if they knew that she was putting her life at risk to help an attorney find a VW convertible named Pokey.
Fortunately, T.S. gets out of court in time to head down to the junkyard, toss around the car thieves, and help Amy rescue her car from being smashed. Unfortunately, even after knocking out the thieves (“Goodnight, brother,” T.S. says.), T.S. is still not able to prevent Amy from accidentally destroying her car while trying to figure out how to lower it from the junkyard crane.
“It’s okay, Amy,” T.S. says, “So what if you’re not a good detective?”
“It was just a car,” Sydney says.
“THERE’S NO OTHER CAR LIKE THAT IN THE WORLD!” Amy yells at the teenager who risked her life to help a total stranger.
Presumably because he doesn’t want to have to spend the rest of his life listening to Amy complain about her car, T.S. buys Amy a new black VW convertible.
In the past, I’ve wondered why this show usually only focuses on one of the T’s. Now I understand that it’s because Amy Taler, the other T, is an incredibly annoying character who will risk other people’s lives and not even say thank you afterwards. This episode featured too many scenes of Amy yelling about her car and not enough scenes of T.S. gruffly telling people to stay out of his way. I mean, I love my car too but I’m not going to force a stranger to break into a chop shop with me to search for it. I’d probably ask my sisters to do it.
Anyway, let’s move on.
Episode 1.12 “Killing Time”
(Dir by Dan McCutcheon, originally aired on March 21st, 1998)
“On this week’s episode,” Mr. T tells us, “Amy and I get put on full alert when an escaped killer come back in town, seeking revenge.”
Years ago, Joe Nichols (played by Geza Kovacs, a favorite of David Cronenberg’s) was convicted of murdering his ex-wife’s new husband. The key testimony in the case against him was given by his five year-old daughter, Wendy (Mairon Bennett). And who was the prosecutor who sent Joe to prison? Amy Taler!
Yes, apparently Amy was prosecutor before she went into private practice. It’s kind of interesting how the show is continually revealing contradictory details about Amy’s past, almost as if the show’s writers were making up the character as they went along. Amy tells T.S. that the Nichols case was the last she prosecuted before switching sides. Joe Nichols was a viscous killer and he needed to be taken off the streets so I’m not sure why the Nichols case would be the one that would lead to Amy resigning from the prosecutor’s office.
Anyway, Joe escapes from prison and returns to whatever Canadian city T and T is supposed to take place in. The cops think that Joe is coming for his daughter but T.S. thinks that Joe is actually after Amy and decides to stake out Amy’s apartment so that he can beat up Joe when he shows up. And that’s what happens.
Seriously, that was pretty much the entire episode. That 30-minute run time pretty much guaranteed that T and T would always keep everything direct and to the point. Geza Kovacs is as menacing in this episode as he was as Greg Stillson’s bodyguard in Cronenberg’s adaptation of The Dead Zone. But it’s hard not to regret that this episode lacked the usual T.S. Turner quips. Other than yelling at a cop for calling him and “interrupting my cookie break,” T.S. didn’t have many memorable lines in this episode which, to me, defeats the whole purpose of casting Mr. T as a private investigator.
Well, that’s two disappointing episodes of T. and T! Hopefully, next week will be a return to form for both the show and T.S. Turner.
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 South Central, which aired, for 10 episodes, on Fox in 1994. The entire show is currently streaming on YouTube!
This week, James Mosely returns to South Central!
Episode 1.5 “Men”
(Dir by Stan Lathan, originally aired on May 10th, 1994)
Because Tasha has a babysitting job and Andre is sneaking out of the house so that he can check in on Nicole, Joan finally has a night to herself. She goes next door, where Sweets (Paula Kelly) is throwing a party. Sweets thinks that Joan should hook up with Dr. Ray McHenry (Ken Page), who is Andre’s mentor and who also brings in a $100,000 a year and who is also obviously in love with Joan.
Joan, however, is more interested in Isaiah (Michael Beach), who is a local food distributor who comes to the Co-Op on a daily basis and demands to be paid for the food that he’s dropped off. Isaiah and Joan start talking and Joan is impressed to learn that Isaiah is also an independent building contractor and that he manages two apartment buildings. When Joan mentions that there are still cracks in her bedroom from the last earthquake, Isaiah offers to come over to her house and take a look at them. Joan takes him up on his offer.
Just when Joan and Isaiah are starting to get romantic, Tasha comes home from babysitting and see Joan and Isaiah kissing. Tasha, who still believes that her father is going to come back into her life at any minute, gets upset and runs out of the house. (As the child of divorced parents, this scene hit pretty close to home for me.) Tasha does eventually return, as does Andre. They both demands to know how Joan could bring some other man into the house. Andre shouts that Joan should stop leading on Ray. (Ray, of course, is standing in the room when he does so.) Joan tells both of her children that her personal life is her business and that she doesn’t owe them any explanations.
Of course, the next day, Joan tells Isaiah that she doesn’t feel like she can get into a relationship with him or anyone else. Her life is too complicated. Isaiah promises to wait until it’s less complicated.
This episode was a good example of what made South Central far more interesting than other sitcoms. Joan loves her children and she has sacrificed a lot to take care of them. But, as this episode shows, she’s not always happy about that fact. Having gotten married young and also having had to drop out of college after her divorce, Joan feels that she’s missed out on a lot of experiences. At the same time, I can understand why both Tasha and Andre felt upset. Andre doesn’t want anyone taking his role as “man of the house,” (though it’s not a role for which Andre is well-suited) and Tasha doesn’t want anyone replacing her father. And then you have poor old Ray, who is the nicest character on the show and who, if we’re going to be honest, allows himself to be taken advantage of by both Joan and Andre. None of the characters are all good or all bad. Instead, they’re all very human.
That said, this episode suffers a bit because Michael Beach, who is normally a very good actor, gives an oddly stiff performance as Isaiah. He’s handsome enough that it’s believable that Joan would want to invite him back to her room but the character doesn’t really have enough of a personality for one to feel that Joan is missing out by not having a long-term relationship with him.
Episode 1.6 “Dad”
(Dir by Stan Lathan, originally aired on May 17th, 1994)
Tasha is celebrating her 14th birthday but she’s not happy. She’s not happy about the decorations that Joan has hung in the backyard for her party. (“It looks like Deion did them,” she snaps about the decorations that Joan was up until four in the morning preparing.) She’s not happy when she discovers that the meat for the hamburgers was purchased at the Ujamaa co-op. (I agree. Co-op food is the worst.) She’s especially not happy because she has yet to receive a present in the mail from her father, James. Andre says that she’ll be grown and working at the post office herself before she ever receives anything from their father. Joan is upset over Tasha’s resentful attitude but she keeps repeating, “It’s her day.”
As opposed to his sister, Andre is happy because Nicole comes to the party with her friend, Candi (Madlina Williams). Though Andre’s friend, Rashad, originally dismisses Nicole as being “bougie,” he changes his mind as soon as he sees Candi. As for Nicole, she seems to be excited about finally seeing Andre’s house but it’s hard not to feel that Rashad has a point. In many ways, Nicole comes across like the type of rich activists who are convinced that they know what it’s like to struggle because they spent a week “living the wage.”
Halfway into the party, Tasha and Andre’s father, James (Glenn Plummer), shows up in the backyard. While Tasha is overjoyed to see her father, neither Joan nor Andre are happy to see him. James turns out to be very charismatic and soon, for everyone but Andre, he’s the life of the party. He even manages to get Joan to dance with him. When two gang members show up, uninvited, and nearly get into a fight with Andre, James is the one who is able to talk them into leaving the party. Everyone treating James like a hero is too much for Andre and the two of them argue. James accuses Joan of not properly raising Andre and says that Joan only cares about money and material things. James reveals that it was Joan who kicked him out of the house and demanded a divorce. James also suggests that Joan’s bad parenting is what led to Marcus’s death. Joan slaps James and orders him to leave but then she can only watch in horror as Tasha leaves with him.
Six hours later, Tasha returns home. When Joan asks Tasha what she and her father did for six hours, Tasha just says that they talked and had dinner and that they returned one of Joan’s presents so that James could use the money to buy a new jacket for Tasha. Joan says that Tasha can love her father but it would be nice if she could occasionally show some appreciation for everything that Joan does for her on a daily basis. The episode ends with the sound of Tasha sobbing.
Happy birthday!
Once again, I found myself very much relating to Tasha in this episode. On the one hand, it’s easy to see that, underneath James’s charm, he’s basically an immature man who can barely take care of himself. Tasha has idealized him, largely because she doesn’t have to deal with him on a day-to-day basis. He’s just someone who sends her gifts and tells her that her mother is the reason why they can’t be a family. At the same time, Joan may want to be thanked but how often has she thanked Tasha for taking care of Deion? Joan has sacrificed a lot for her kids but Tasha is often expected to sacrifice a lot as well. Andre gets away with everything because no one expects him to be responsible. Tasha, meanwhile, is expected to always be the responsible one. In the end, both James and Joan are guilty of making Tasha’s birthday about themselves instead of allowing it to be about Tasha.
That’s a pretty heavy theme for a sitcom but that’s what set South Central apart from other shows of the era. It’s also probably the main reason why South Central only lasted 10 episodes. As well-acted and well-written as this episode is, it’s still a birthday episode that ends with a 14 year-old girl sobbing in her living room. There’s not a laugh track in the world that’s going to lessen that pain.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
This week, Gopher sings!
Episode 3.6 “Gopher’s Greatest Hits/The Vacation/One Rose A Day”
(Dir by Alan Rafkin, originally aired on October 13th, 1979)
What a pleasant cruise this turned out to be!
Two sisters, Joan (Joanna Cassidy) and Olivia (Jaye P. Morgan), are apparently regulars on the boat. They sail so often that Captain Stubing literally jumps for joy when he sees that they are once again on the ship. Joan and Olivia always take the cruise together and usually, they have a wild time. But this year, Olivia is shocked when Joan shows up with her husband, Byron (Conrad Janis)! Byron is a bit uptight and not at all happy when he starts to hear stories about how wild his wife and sister-in-law have gotten in the past. He assumes that Joan has cheated on him. She hasn’t but Olivia has cheated on her husband. In the end, Olivia continues to have fun and Joan decides that it’s time to settle down. This story suffered a bit because Byron came across as being insufferably self-righteous but Joanna Cassidy and Jaye P. Morgan were believable as sisters. As someone who has enjoyed a wild vacation or two with her sisters, I could relate.
Meanwhile, Janet Latham (Martha Scott) is taking her first vacation since the death of her husband. Her florist, Henry (Don Ameche), is also on the cruise. Every day, during their marriage, Janet’s husband would have Henry deliver a single white rose to Janet. After her husband died, Henry continued to deliver the roses to Janet. He allowed Janet to believe that her husband had arranged for her to continue to receive the daily roses but it turns out that Henry has been delivering them on his own because he’s fallen in love with her. Janet does fall in love with Henry on the ship, though she fears that she’s betraying her husband’s memory. Fortunately, by the end of the cruise, she’s ready to take another shot on love. This story worked wonderfully, largely due to the sincere and heartfelt performances of Martha Scott and Don Ameche. There was a tremendous amount of sincerity to their love story and it was impossible not to smile at the sight of them leaving the cruise together.
Finally, Julie has a problem! The singer that she scheduled to perform in the Acapulco Lounge gets the mumps and has to cancel at the last minute. Julie has to find a replacement. Fortunately, it turns out that Gopher has a great singing voice. He performs at the Lounge, wearing a pink tuxedo and acting like a drunk brat packer. The audiences loves him. The captain, once skeptical, applauds. Gopher thinks that they love his singing but actually, they all think that he’s parodying a bad lounge act. When the captain congratulates Gopher for being a brilliant comedian, the crestfallen Gopher says that he’s only going to sing in the shower from now on. So, Julie arranges for a fake shower to be placed in the middle of the Acapulco Lounge so that Gopher can sing Danny Boy while Isaac holds a watering can over his head. Again, the captain loves it. This was undoubtedly a goofy storyline but goofiness was Fred Grandy’s strong suit and it’s hard not to smile at his over-the-top interpretation of Mack the Knife.
This was a good episode that really showed how much fun The Love Boat could be at its best. From the sentimental Don Ameche/Martha Scott storyline to Fred Grandy dancing around the pool, this was an entertaining cruise.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986. Almost entire show is currently streaming is on Youtube!
This week, Tattoo goes rogue!
Episode 3.14 “Lookalikes/The Winemaker”
(Dir by Lawrence Dobkin, originally aired on December 22nd, 1979)
“Ah. So you thought you would handle her teeny, weeny fantasy your teeny weeny yourself,” Roarke says to Tattoo as they watch a nun depart from the plane and step onto Fantasy Island.
On the one hand, after the past few episodes, I guess we should be glad that Roarke is actually talking to Tattoo again. But, as the comment shows, it’s pretty obvious that Roarke still despises his assistant and Tattoo doesn’t have much respect for Roarke’s authority.
As for the fantasy, it involves Sister Veronica (Celeste Holm), a wine-making nun who wants to enter her wine in the Fantasy Island Wine Tasting Contest and hopefully win enough money to save her orphanage. At first, Roarke is a bit annoyed that Tattoo promised Sister Veronica a fantasy that Roarke is not sure that he can make come true. (Of course, after three seasons, we know that Roarke can do just about anything so, to be honest, Roarke’s objection mostly seems to be about having to do anything to help out Tattoo.) When Roarke tastes Veronica’s wine, he is pleasantly surprised. It’s quite good, he says. However, when he and Tattoo taste the wine a second time, they discover that it’s actually quite bad!
At first, Tattoo tries to substitute a different wine for Sister Veronica’s but Roarke catches him and tells him that the integrity of Fantasy Island cannot be compromised. However, greedy winemaker Armand Fernandel (Ross Martin) decides do to the same thing, switching the label of a bottle of his wine with the label of a bottle of Sister Veronica’s. As a result, Veronica wins the competition but has the win taken away when the judge (Jonathan Harris) discovers that the labels were switched. (Armand doesn’t get the win either, having been disqualifies for cheating.) So, it looks like Veronica’s fantasy is a bust….
….except, amazingly, oil has been discovered on the grounds of the orphanage. Yay! Everything works out and Tattoo is able to keep his promise to Sister Veronica.
As for the other fantasy, it features Ken Berry as Harry Simpson, an Idaho salesman who is convinced he has an exact double and who wants to live the double’s life for a weekend. It’s an oddly specific fantasy but somehow, Roarke pulls it off. (But if Roarke could find Harry’s double and allow Harry to live the double’s life, why couldn’t he fix a wine tasting competition?) It turns out that Harry’s double is a high-living gambler. Harry is excited to live his life until he discovers that his double is in trouble with a gangster (Michael V. Gazzo) and that he owes all of his gambling success to a 12 year-old card reader named Jimmy (Johnny Timko). In order to adopt Jimmy and give him a normal childhood, Harry has to win a game of blackjack on his own. Once again, it’s time to head down to the Fantasy Island casino! Mr. Roarke, of course, will not allow Jimmy to help Harry because the casino has a strict 18 and over age requirement. It’s strange how sometimes, Mr. Roarke is in charge of the casino and how other times, Roarke claims to have absolutely no power over the casino. Personally, I suspect the casino is a money laundering scheme.
This was an enjoyably silly episode, featuring guest stars who appeared to be having a good time. Celeste Holm is convincingly saintly as Sister Veronica while Ross Martin is enjoyably cartoonish as the greedy Armand. Ken Berry is so totally cast against type as a gambler that it actually kind of works. This episode managed to strike a balance between over-the-top silliness and melodrama and, as such, it was an entertaining weekend on the Island.
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 1972’s The Astronaut! It can be viewed on YouTube!
NASA has successfully landed a man on Mars! The entire world watches as Col. Brice Randolph (Monte Markham) makes his way across the Martian surface. However, suddenly, the signal goes out. Viewers are assured that this is the sort of thing that happens all the time with interstellar travel. What they don’t know is that the signal went down because Brice suddenly died. While the surviving members of the mission return to Earth, NASA tries to figure out how to keep anyone from finding out what happened to Brice. NASA director Kurt Anderson (Jackie Cooper) knows that the President wants to cut the budget and the death of an astronaut would probably provide the perfect excuse for taking money away from NASA and canceling the Mars program.
Anderson’s solution is to recruit a substitute. Eddie Reese (Monte Markham) has a slight resemblance to Brice, one that can be perfected through plastic surgery. While the mission returns from Mars, Eddie goes through a crash course to teach him how to talk, walk, and think like Col. Brice Randolph. Eddie is told that he’ll have to be Brice until the NASA scientists can figure out what led to Brice’s death. Once they do know what went wrong with the mission, Eddie will have to go into NASA’s version of the witness protection.
Eddie proves to be a quick learner and it helps that he, like so many others, looked up to Brice. However, while Eddie can fool almost everyone else, he cannot fool Brice’s wife, Gail (Susan Clark). When Eddie actually treats Gail with kindness and shows sympathy for her nervous condition, she realizes that there’s no way that Eddie is actually her husband. Apparently, Brice was not quite the saintly figure that the public believed him to be. Eddie and Gail soon fall in love for real but when NASA finally discovers what led to Brice’s death, it looks like their new life together might be over as abruptly as it begun.
The Astronaut is a low-key conspiracy …. well, I hesitate to call it a thriller. There’s little of the things that one typically associated with a conspiracy thriller. There’s no black helicopters. There’s no shadowy assassins. There’s no army of men walking around in black suits. Instead, there’s just a bunch of nervous bureaucrats who are desperate to keep the rest of the world from discovering just how much they screwed up. As played by Jackie Cooper, the head of NASA isn’t so much evil as he’s just way too devoted-to-his-job for his own good. In many ways, this is probably one of the most realistic conspiracies ever portrayed on film.
In the end, The Astronaut is a portrait of two lonely people who find love in the strangest of circumstances. Susan Clark and Monte Markham make for a likable couple and the viewer really does hope that things will work out for them. What this film lack in conspiracy thrills, it makes up for in human drama. It appealed to both my romantic and my rabid anti-government sides. What more could one ask?
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!
This week, the Sweathogs meet John Astin and Gabe goes to the doctor!
Episode 2.5 “The Museum”
(Dir by Bill Davis, originally aired on October 28th, 1976)
Mr. Woodman steps out of his office, just to find Gabe waiting for him.
“Mr. Woodman,” Gabe says, “did I ever tell you about the black sheep of my family?”
“I thought that was you,” Woodman replies.
Wow! Woodman has clearly already won this exchange but Gabe still proceeds to tell Mr. Woodman about his Uncle Lefty Kotter, who was a gambler. Mr. Woodman dramatically sighs and walks out of the office. See, Gabe, not everyone’s as patient as Julie.
After the opening credits, we find Gabe and Julie preparing the Sweathogs for a field trip to the Museum of Natural History. Barbarino is super excited because he’s never been to a real museum before. He explains that he did go to a wax museum once. “I saw Raquel Welch,” Barbarino explains, “Did you know that wax come right off in your hands?”
When Mr. Woodman comes out of his office to complain about the Sweathogs being taken off campus, Epstein explains that they’ve decide to take Woodman to the museum with them. Freddie announces that Woodman is going to be his field trip buddy. Personally, I think it would be fun to go on a field trip with Mr. Woodman because Mr. Woodman is clearly insane.
When the Sweathogs reach the museum, it actually looks a lot like one of those “horror dungeon museums” that always seem to pop up around Halloween.
Arnold is frightened of the museum and tosses a bunch of salt over his shoulder and into Epstein’s eyes. (Yes, Arnold is carrying a salt shaker with him.) Gabe asks the museum curator, Mr. Gore (John Astin), to assure Arnold that there is no reason to be scared. Mr. Gore explains that his name is pronounced “Gor-ay,” and then says that there are powers in the world about which one should not joke. “There are forces here,” Gore explains, “that do not appreciate one-liners!” Uh-oh, Gabe’s in trouble!
Barbarino and Freddie are also in trouble because they’ve entered an exclusive room that is home to an Egyptian mummy!
“This room is for VIPs only!” Mr. Gore declares.
“I am a VIP,” Barbarino protests. “I’m a Very Italian Person.”
Mr. Gore agrees to show the Sweathogs the Egyptian room on the condition that they touch nothing. “Or else you’ll risk the wrath of the pharohs!” Julie proceeds to say that the mummy doesn’t look a day over 2500 years old. Gabe jokes about the Mummy being named Pew. Mr. Gore, having grown annoyed, dares Gabe to open a cursed sarcophogus and risk the Mummy coming back to life. Gabe opens it, just to have Horshack step out of it.
“Hello,” Horshack says, “how are ya?”
Gore faints. Woodman announces that it’s time for the Sweathogs to return to the school. One problem, the door to the Egyptian room has slammed shut and cannot be opened. “Its the Curse of Pew!” a delirious Gore says.
Gabe explains that they’ll probably be trapped in the room until the next morning and then proceeds to give a mock eulogy for Pew The Mummy.
“We’re doomed!” Woodman shouts, “All doomed!”
Mr. Gore finally wakes up and says that he’s sure the curator will come to their rescue.
“Mr. Gor-ay,” Gabe says, “You’re the curator”
“How unfortunate,” Gore replies.
With everyone trapped in the Egyptian Room together, Horshack worries that he’ll never get a chance to meet Marie Osmond. When Gabe notices that there’s an air duct that someone could crawl through to get help, Horshack volunteers. Unfortunately, it turns out that the air duct just circles around the room so Horshack returns and continues to think about becoming an Osmond.
“I may be dying,” Woodman yells, “But I’m taking you Sweathogs with me! The mummy is going to get us if we don’t get out!”
Mr. Gore suggests that the Mummy might be satisfied with a human sacrifice. Woodman calls for Horshack to come over.
Fortunately, Epstein says that he’s seen enough home repair shows to know how to find “the stress part” of the door and open it. He taps on the door and …. it opens! The audience goes wild, even if it does seem like kind of an anticlimactic way to end the episode. But at least Epstein got to be the hero for once.
This episode was cartoonish, even by the standards of Welcome Back Kotter, but I think a lot of that has to do with the fact that this episode aired three days before Halloween. This was a holiday episode and I imagine it was a lot of fun when viewed on a dark and stormy night in 1976.
Episode 2.6 “Gabe Under Pressure”
(Dir by Jay Sandrich, originally aired on November 4th, 1976)
Julie brings Gabe his lunch.
“Did I ever tell you about my uncle who thought he was a horse?” Gabe asks. He proceeds to tell her about him. Julie smiles tolerantly.
As for the main storyline, the free clinic (where Julie volunteers) is offering free physicals at Buchanan High. Gabe expects the Sweathogs to take advantage of the offer but he himself refuses to go to the doctor to find out why he has a pain in his chest. It turns out that Gabe is scared of doctors! The Sweathogs are concerned enough to show up at Gabe’s apartment. Barbarino tries to take Gabe’s pulse. When Gabe asks if Barbarino knows what he’s doing, Barbarino replies, “I know it like the back of my hand.” Barbarino then gets distracted by the back of his hand.
Touched by the concern of his students, Gabe conquers his fear and sees the doctor. Gabe discovers he is okay and everyone watching learns a lesson about getting a regular check-up. It’s a pretty simple episode, one that is probably most interesting for having aired two days after the 1976 presidential election. Kotter went to the doctor and Carter went to the White House but Mr. Woodman stayed right where he was.
Later, with the physical having been completed, Gabe tells Mr. Woodman, “You have to hear about my Uncle Kermit Kotter!”
“No, I don’t, Kotter!” Woodman replies.
Gabe says that his Uncle Kermit always used to walk by a bakery and he would see a woman hitting her son with a loaf of bread. One day, Uncle Kermit walked by and the woman was hitting her son with a chocolate cake. Gabe says that his Uncle Kermit asked why the woman was hitting her son with a chocolate cake and….
“And the woman says because it’s his birthday,” Woodman replies, “I already heard it, Kotter.”
Seriously, John Sylvester White was a national treasure.
Welcome to 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 T. and T., a Canadian show which ran in syndication from 1987 to 1990. The show can be found on Tubi!
This week, T.S. insults the national sport of Canada and Amy battles city hall.
Episode 1.9 “On Ice”
(Dir by Alan Simmonds, originally aired on March 7th, 1988)
“In this episode,” Mr. T tells us, “Decker is forced to face the truth about a long-time friend.”
Though T and T took place in a generic city, the show itself was filmed in Canada, with a largely Canadian cast and crew. Hence, it only makes sense that the show would eventually do an episode that centered around hockey. This episode opens with Mr. T’s friend, Decker (David Nerman), coaching a junior hockey game. While the players skate on the ice and chase the puck, Decker deals with fans like the loud Mrs. Mowby (Jayne Eastwood), who is apparently convinced that she knows better how to coach the team than the actual coach! Unfortunately, Decker is yanked out of the game by two detectives who announce that he is under arrest for “theft of over $2,000.”
After T.S. Turner and Amy bails Decker out of jail, Amy explains that it appears that over $25,000 has been embezzled from the Junior Hockey Association. Decker admits to being the association’s treasurer but he also admits to not being good at numbers. He explains that his old friend, Goldie Stanski (played by Sean McCann), usually goes over the books for him.
“Goldie?” T.S. growls, “You trusted a guy named Goldie!?”
Decker explains that Goldie has been his friend for years. Goldie was his former coach! And, indeed, when Mrs. Mowby demands that Decker be kicked out of the Junior Hockey League, Goldie argues that Decker has not been convicted of anything, not that it does Decker much good. However, Detective Jones (Ken James) informs T.S. that “word on the street” is that Goldie has a gambling addiction.
Decker takes T.S. to his next practice and introduces T.S. to the team. They ask T.S. if he’s going to join them on the ice.
“No thanks, brothers,” T.S. replies, “I don’t play no sport when you can get frostbitten indoors. Besides, I think hockey’s an old ladies’ game …. Look at the ton of equipment you guys wear!”
After practice, Decker is arrested for a second time after the detectives, having gotten an anonymous tip, search his locker and just happen to find a bus ticket that leads to a bag full of money. Fortunately, Amy is able to bail him out of jail again, much to the relief of her spacey administrative assistant, Sophie (Catherine Disher), who has a crush on Decker.
T.S. has decided that Goldie is setting up Decker. Now, he just has to get Goldie to give himself away.
“I think with a little persuasion,” T.S. tells Amy, “he might do something foolish …. Friendly persuasion, of course!”
T.S.’s style of persuasion is to show up in Goldie’s apartment and tell him that everyone knows what Goldie’s done while drinking a glass of milk. “Thanks for the milk,” T.S. growls before leaving. When Goldie responds by going to the gym and pocketing more money from the hockey’s charity fund, Amy, T.S., and Decker are there to chase him out on the ice and catch him. If you’ve ever wanted to see Mr. T drive a Zamboni, this is the episode for you.
Decker’s name is cleared and he’s re-instated as coach. Yay!
This was a totally predictable episode but I kind of liked it. Mr. T on a Zamboni was just a ludicrous enough image to make the entire show work.
Episode 1.10 “The Latest Development”
(Dir by George Mihalka, aired on March 14th, 1988)
“In this episode,” Mr. T tells us, “Amy and I fight City Hall …. and City Hall fights back!”
When a dumb, 13 year-old kid named Nick (Toby Proctor) breaks into a construction site and takes a bulldozer for a joyride, he accidentally destroys a truck. The owner of the site, Enzo Malec (George Touliatos), is determined to throw the book at Nick because he’s an evil developer and he wants both Nick and his grandmother, Cora (Helen Hughes), out of their home.
It turns out that one of Amy’s former classmates, Brian Brack (Richard Comar), works in the city’s legal department so she heads down to City Hall in an attempt to guilt him into allowing Cora to stay in her home. For once, we actually get to see Amy doing legal work, which basically amounts to wandering around with a file folder and rolling her eyes while having conversations with other people.
Meanwhile, T.S. takes Nick down to the construction site and convinces Malec to let Nick work off his debt as a construction worker. T.S. arranges for Cora to move in with gospel-singing Aunt Martha (Jackie Richardson) while Nick moves in with Decker.
Suddenly, building inspectors show up at Amy’s office and start searching for violations. “Brian Brack is responsible for this, isn’t he!?” Amy says, while the inspectors write her up for not having a window that opens quickly enough. That’s a $2,000 fine! Upon discovering that they are now going to war with city hall, T.S. tells Amy, “This could be a title bout!”
Amy confronts Brian at a fancy restaurant and tells him that she has discovered that he has invested in Enzo Malec’s development. She demands to know who he and Malec paid off at city hall. Brian tells Amy that she doesn’t know who she is missing with. Amy responds by tossing a drink on him. In a case of amazing timing, Alderman Kent (Mark Walker) shows up and asks if Amy is going to be joining him and Brian for lunch. Hmmm …. I wonder who the corrupt politician could be.
Meanwhile, T.S. and Decker help Nick deal with his anger by training him to box.
“I know how to fight!” Nick says.
“To win, you need a strategy,” T.S. replies.
T.S. proceeds to knock down a 13 year-old.
While T.S. is teaching Nick how to fight, the city is threatening to shut down Aunt Jackie’s foster home! When T.S. finds out, he puts on his dark jacket and starts to head off to City Hall so he can presumably beat up the mayor. Instead, Amy convinces him to hold off by revealing that Brian and Alderman Kent have been taking bribes from Enzo Malec. When T.S. heads down to the construction site, Malec panics and, later that night, he tries to burn a bunch of incriminating files. However, it turns out that he’s being filmed by Amy and the local news.
And that apparently fixes the whole thing!
This episode felt rushed as it basically only had 30 minutes to deal with an hour’s worth of complications. It only took one boxing lesson for Nick to let go of his anger and it only took one confrontation with T.S for Enzo Malec to make one sloppy mistake. That said, I appreciate any episode that portrays municipal government as being thoroughly corrupt and irredeemable. Fight the system!
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 South Central, which aired, for 10 episodes, on Fox in 1994. The entire show is currently streaming on YouTube!
This week, Andre is nearly killed while riding the bus and Joan is embarrassed by her new employer.
Episode 1.3 “RTD”
(Dir by Stan Lathan, originally aired on April 19th, 1994)
It’s Andre’s day to watch Deion but when Joan sees Andre’s report card and discovers that Andre failed one class and came close to failing several others, she orders him to go all the way to Inglewood to see his “mentor,” Ray (played by Ken Page). Because Joan has to go to work and there’s no one around who can drive Andre all the way across town, she gives Andre permission to ride the bus. However, she also orders him to sit in front, where it’s safe. Joan then tells Tasha that she’s going to have to give up her day to look after Deion. Tasha gets angry, wondering why she’s the one having to give up her freedom when she’s also the one who actually gets good grades and “doesn’t need a mentor to keep (her) from messing up (her) life.”
I have two thoughts about this.
First off, Tasha is absolutely right to be upset. Why did Joan adopt Deion when she was already financially struggling and she had two children to raise? The show suggests that Joan adopted Deion because she needed a replacement for Marcus but still, it does seem like the responsibility for looking after Deion falls on Tasha much more often than it does on Andre. When Tasha says that she feels that she’s punished for being responsible, she has a point. Obviously, someone has to look after Deion but Joan could, at the very least, acknowledge that the whole situation isn’t easy for Tasha.
Secondly, I have to admit that I’ve always taken the idea of riding the bus for granted. Of course, it’s not something that I do on a regular basis but, whenever I have been on a bus, I’ve felt safe and the only thing that really worried me was dealing with motion sickness. One of the things that South Central did so well was it showed how the experiences that I, as someone living in the suburbs, take for granted (like being able to safely ride a bus) are far different for people living in neighborhoods that are dealing with poverty and crime.
Andre and his friend Rashad, for instance, defy Joan and sit in the back of the bus, where they are eventually confronted by two gang members who steal Rashad’s radio. When Andre tries to stand up to them, one of them pulls a gun on him. Rashad escapes by jumping out the bus’s back window and probably the only thing that saves Andre’s life is that the gunman’s friend recognizes him as being Marcus’s brother. In the second episode, a friend of Marcus’s gave Andre money. In this episode, another one of Marcus’s friends saves Andre’s life. Marcus may be dead but his name still carries some power and it’s hard not to compare the respect that Marcus commands with Joan having to take a job bagging groceries just to keep her home.
Andre finally does reach Ray’s home and is immediately impressed with Ray’s big house, his big TV, and his stereo equipment. (He is less impressed with what’s playing on Ray’s radio, asking Ray why he’s listening to “white music.”) Ray tells Andre that the only way he’ll ever have a decent home is if he improves his grades and goes to college. Andre, however, is more interested in Nicole (Maia Campbell), who comes from a wealthy family and who works, “after school,” as Ray’s administrative assistant. When Andre hears that Nicole wants to go to Princeton, Andre decides that he wants to go there too.
Ray is hesitant to give Nicole’s number to Andre, which Andre takes to mean that Ray thinks that Andre isn’t good enough to date a girl from an upper class family. However, the next day, Ray has a change of heart and invites Andre to come to church with him and Nicole’s family. An excited Andre agrees but, unfortunately, this means taking the bus once again. When the guy who previously pulled a gun on him sees Andre on the bus, he not only beats up Andre but also steals his good church shoes.
Andre shows up at Ray’s house, bloody and barefoot. It’s not the best way for Andre to meet Nicole’s parents. When Nicole promises that she’ll check on how Andre is doing after church, Nicole’s mother responds, “No, you won’t.” Ouch!
Ray takes Andre home where Joan announces that Andre is no longer allowed to ride the bus, regardless of how he feels about Nicole. Andre, having paid Nicole’s cousin five dollars for her number, calls Nicole and promises her that they’ll see each other, regardless of what their parents think.
This was a strong episode. It can be easy to get annoyed with Andre, who tends to talk a big game but, watching this episode, it’s obvious that he’s perhaps the most naïve character on the show. The only male role model that he has in his life is Ray and, as this episode makes clear, Ray is well-meaning but doesn’t exactly understand the realities that Andre has to deal with on a day-to-day basis. I mean, what’s the point of having a mentor if there’s a good chance you’re going to get killed trying to visit him? Andre refuses to surrender and rides the bus a second time in order to see Nicole and he gets mugged for his trouble. With the whole world seeming to be against him, who can be surprised that getting good grades isn’t his number one concern?
Episode 1.4 “CO-op”
(Dir by Stan Lathan, originally aired on May 3rd, 1994)
It’s a big day for all the members of the Mosely family!
Andre manages to get a ride into Inglewood, where he shows up unannounced at Ray’s office and finally gets Nicole to agree to go out on a date with him on Friday. I have to admit that I cringed a bit at the scene where Andre showed up, if just because I worked as an administrative assistant when I first got out of college and I know how annoying it is to have some jerk show up and try to keep you from getting your filing done. If the previous episode was about revealing Andre’s hidden depths, this episode was all about his immaturity. Nicole’s decision to kiss Andre and make a date with him honestly felt more like her rebelling against her parents than actually being attracted to Andre as an individual.
While Andre is getting a date with Nicole, Joan is getting humiliated on television. When Bobby (Clifton Powell) arranges for the local news to come do a live spot from the Ujamaa Co-op, he introduces Joan as being someone that he (and the Co-op) saved from having to go on welfare by hiring her to bag groceries. When Joan snaps that Bobby humiliated her, Bobby challenges her to tell him what was inaccurate about anything he said. Joan points out that, for someone who claims to be all about sacrificing for the community, Bobby certainly has the money to afford “a new dashiki.” And Joan does have a point. Bobby is one of the more interesting characters on the show, mixing a sincere desire to improve his community with a healthy ego that prevents him from realizing just how condescending he can be when spreading his message.
Of course, with Andre and Joan both occupied, it falls on Tasha to once again sacrifice her plans so that she can take care of Deion and make sure that he goes to his therapy session. Deion, who doesn’t converse but does often yell, strikes Tasha at one point and, by the time Tasha arrives at the therapist’s office, she’s sick of dealing with him. The therapist (CCH Pounder) sends Deion to play in another room and then talks to Tasha. Tasha finally gets to talk about how unfair it is that, because she’s the responsible one, she’s the one who is always expected to give up her plans. This really was Tasha Scott’s showcase episode and she did a great job showing how difficult it is to have to carry the weight of the world on your shoulders. This episode works because it not only acknowledges Tasha’s anger but it also admits that there isn’t an easy solution. The therapist doesn’t come up with some perfect turn of the phrase that makes everything better. Instead, in the end, Tasha takes some comfort in the fact that the now calm Deion briefly reaches out towards her, showing her the first real appreciation that she’s received in the series.
Next week, Tasha and Andre’s father briefly returns to their lives.
Through the Shattered Lens 