Retro Television Review: Fantasy Island 6.10 “Operation Breakout/Candy Kisses”

Posted on April 1, 2025 by Lisa Marie Bowman

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 1984. Unfortunately, the show has been removed from most streaming sites. Fortunately, I’ve got nearly every episode on my DVR.

And now, it’s time for …. wait? What? *sigh* Okay.

Episode 6.10 “Operation Breakout/Candy Kisses”

(Dir by George W. Brooks, originally aired on January 15th, 1983)

My fantasy would be to be able to review this episode.

Ever since Fantasy Island was yanked down on all the streaming sites, I’ve been watching the show off of my DVR. A few years ago, I recorded nearly every episode off of one of the retro stations. (Sadly, the station also appears to no longer be broadcasting the show.) Unfortunately, nearly is not all and this is one of the episodes that I did not record. So, obviously, I can’t review it.

I can talk a little bit about it because I did watch this episode a few years ago. When I read the plot description on the imdb — Wheelchair-bound Kentucky racehorse breeder Rowena Haversham wants one last chance to win a race; and self-professed failure Danny Clements of Boston wants to turn his life around by breaking an American agent out of a tough foreign prison. — a bit of it came back to me. I remembered that Rowena (Ann Turkel) was given what she thought was a magic riding crop but that, at the end of the episode, Roarke revealed that the only magic was Rowena’s belief in herself. I think Rowena was transformed into a younger version of herself and she befriended a young rider played by Jill Whelan and ended up falling in love with Whelan’s father, who played by John Beck and not Gavin MacLeod. And I remember that Ben Murphy played the guy who entered the prison to save the American spy but it turned out that the prison was run totally by women and the spy was having the time of his life. I remember bits and pieces but it’s been a few years and I still wouldn’t feel comfortable even trying to tell you whether or not the episode worked.

So, consider this to be a placeholder. If I ever find Fantasy Island streaming somewhere or if someone is kind enough to reupload the show to YouTube, I’ll come back and review this episode.

Until then, my fantasy is for an official home video release of the entire series as opposed to just the first few seasons. Seriously, this is a fun show and one that still has a lot of fans. Yanking it off of Tubi to make room for the Fox reboot that only lasted for two seasons really doesn’t make a bit of sense.

This needs to be fixed!

Guilty Pleasure No. 79: Kate’s Secret (dir by Arthur Allan Seidelman)

Posted on April 1, 2025 by Lisa Marie Bowman

In this 1986 melodrama, Kate (Meredith Baxter) has a secret. She may look like healthy and young and blonde. She may have a beautiful house and a handsome husband (Ben Masters). She and her fitness instructor best friend (Shari Belafonte) may spend their time making fun of how fat everyone else. But deep down, Kate is convinced that she’s overweight. She gets on the scale and that declaration of 120 pounds feels like a slap in the face.

How does Kate lose weight? She exercises frequently. And she spends a lot of time staring at herself in the mirror, as if trying to mentally burn away the pounds. Mostly, though, Kate just binges on food whenever she gets stressed and then she throws up. Kate has a lot of reasons to be stressed and they are almost entirely due to her mother (Georgann Johnson), who rarely has a nice word to say to Kate and who constantly tells Kate that she’s going to lose her husband to his assistant (Leslie Bevis).

(Who does everyone always assume that assistants are going to be homewreckers?)

Now, to be clear, eating disorders are a serious thing. I know more than a few people who have had eating disorders. During my first semester of college, I got very used to the sound of the girl in the room next to mine throwing up every morning. There’s nothing funny about the idea of someone having an eating disorder. However, there is something funny about an overwritten movie about an eating disorder that features Meredith Baxter literally attacking a chocolate cake then blaming the mess in the kitchen on the dogs. This is one of those well-intentioned programs that takes a real problem and then goes so overboard in portraying it that it’s more likely to make you snicker than feel horrified. You might not feel good about laughing but the crazed look in Meredith Baxter’s cake-filled eyes will make it difficult not to. Hence, the term guilty pleasure.

As always happens in these type of movies, Kate ends up in a treatment center where a doctor (Edward Asner) tries to reach her and the other patients are all either extremely nice or extremely rude. Kate’s roommate (Tracy Nelson) is a model with anorexia. Another patient (Mindy Seeger) harps on Kate’s “perfect life.” Meanwhile, poor Deyna (Mackenzie Phillips) freaks out when someone moves the garbage can. It’s all very well-meaning but also very over-written and overacted to the point that, once again, it’s more likely to illicit a guilty laugh than anything else.

In the end, Kate realizes that it’s all her mother’s fault. That was kind of obvious from the first time her mother told Kate that her husband was obviously planning on leaving her. “I’m getting better,” Kate says as the credits roll. Yay, Kate!

Previous Guilty Pleasures

Icarus File No. 21: Reach Me (dir by John Herzfeld)

Posted on April 1, 2025 by Lisa Marie Bowman

The 2011 film, Reach Me, opens with a rapper named E-Ruption (Nelly) appearing on a morning show and talking about how, while he was serving a prison sentence, he read a self-help book called Reach Me. It asked him to consider whether or not his childhood self would be happy with his adult self. The book was written by a mysterious man named Teddy Raymond. No one knows who this Teddy Raymond is. He’s never appeared in public. People film themselves reading the book online and then upload to YouTube as a way of sharing Teddy’s wisdom. I honestly can think of nothing more annoying and boring than watching someone else read a self-help book but whatever. I live in Texas. The movie takes place in California.

Tabloid editor Gerald (Sylvester Stallone) takes a break from action painting to order one of his reporters, Roger King (Kevin Connolly), to track down Teddy Raymond. Roger wants to write the great American novel. He doesn’t care about self-help. He meets Teddy’s associates, Wilson (Terry Crews) and Kate (Lauren Cohan) and Wilson talks about how Teddy magically cured Kate’s stutter. Roger then wanders around the beach, asking random people, “Teddy Raymond? Are you Teddy Raymond?” Oh look! There’s a guy named Teddy (Tom Berenger) who reluctantly cures Roger of his smoking addiction by ordering Roger to yell at the ocean …. over and over and over again.

Collette (Kyra Segdwick) has just been released from prison. Reading Teddy’s book has inspired her to try to become a fashion designer. Collette’s daughter, Eve (Elizabeth Henstridge), is an aspiring actress who was earlier groped by a sleazy star named Keating (Cary Elwes). Collette and Eve literally crash their car into a car being driven by Wolfie (Thomas Jane), a sociopathic undercover cop who enjoys killing people and who goes to confession after every shooting. (At the start of the movie, he guns down Danny Trejo.) The alcoholic priest, Father Paul (Danny Aiello), refuses to hear any more of his confessions.

Meanwhile, wannabe mob boss Frank (Tom Sizemore) is upset because another mob boss, Aldo (Kelsey Grammer), doesn’t treat him with any respect. Frank sends two of his hitmen, Thumper (David O’Hara) and Dominic (Omari Hardwick), to kill a man who owes him money and to also shoot the man’s dog. Thumper has been reading Teddy Raymond’s book and doesn’t want to shoot the dog. Dominic realizes that his heart isn’t into the mob life so, taking the book’s message to heart, he calls Frank and says, “My heart’s not in it.”

(Don’t try that with any real mobsters.)

Eventually, all of the characters do come together. They don’t exactly come together in a plausible manner but they do all end up at the same location so let’s give the film credit for that. Let’s also give this film credit for leaving me seriously confused. I have no idea whether this film was meant to a parody or a celebration of the self-help industry. At first, I suspected that it meant to be a parody because all of Teddy Raymond’s advice was painfully shallow and the type of basic crap that anyone could come up with. I actually found myself losing respect for the people who claimed that Teddy had changed their lives. But at the movie progressed, I realized that I was supposed to take Teddy and his advice seriously. This was a film that I guess was meant to have something to say but who knows what exactly that was.

That said — hey, everyone’s in this movie! Director John Herzfeld was a former college roommate of Sylvester Stallone’s and, once Stallone agreed to appear, that apparently convinced a lot of other “name” actors to take the risk as well. There’s a lot of talent in this film but little of it is used correctly. Kelsey Grammer as an Italian mobster instead of the editor? Sylvester Stallone as the editor instead of the Italian mobster? Thomas Jane as a sociopath who has a girlfriend by the end of the movie, one who smiles and tells him, “Try not to shoot anyone?” Kyra Sedgwick as an ex-con? These are all good actors but just about everyone, with the exception of the much-missed Danny Aiello, is miscast.

It’s a true Icarus File. It was a just a little more self-aware, this would have been a Guilty Pleasure. But, in the end, self-help cannot help itself.

Previous Icarus Files:

Song of the Day: I Started A Joke by Bee Gees

Posted on April 1, 2025 by Lisa Marie Bowman

Yes, it’s April Fools Day. I guess today’s song of the day is the obvious choice but no matter! (Don’t start any jokes today that you can’t finish.)

I started a joke which started the whole world crying
But I didn’t see that the joke was on me oh no
I started to cry which started the whole world laughing
Oh If I’d only seen that the joke was on me

I looked at the skies running my hands over my eyes
And I fell out of bed hurting my head from things that I said
‘Till I finally died which started the whole world living
Oh if I’d only seen that the joke was on me

Songwriters: Barry Gibb / Maurice Ernest Gibb / Robin Hugh Gibb

The Films of 2025: Flight Risk (dir by Mel Gibson)

Posted on April 1, 2025 by Lisa Marie Bowman

Flight Risk, Mel Gibson’s first directorial effort since the Oscar-nominated Hacksaw Ridge, opens with Winston (Topher Grace) being arrested by Madolyn (Michelle Dockery), a U.S. Marshal.

Winston is an accountant, one who moved around a lot of money for the Mafia and who arranged for a lot of bribes to high-ranked officials. That said, Winston is not a particularly dangerous or even cunning fugitive. If anything, he’s extremely neurotic. He worries about the safety of his mother. He tells Madolyn (and the audience) way more than anyone could possibly need to know about his bathroom habits. He’s on the run because the government wants him to testify against his former employers. Winston is far more frightened of the Mafia than he is of the government and with good reason. The Mafia wants him dead. The government still needs him alive.

After Winston is arrested in Alaska, Madolyn arranges for them to be flown to Anchorage by a Texas-born bush pilot named Darryl Booth. When a man claiming to be Darryl (Mark Walhberg) shows up, Madolyn and Winston promptly get on the plane. From the minute Wahlberg started speaking, I was rolling my eyes. Wahlberg’s Texas accent was perhaps the worst that I’ve ever heard in a modern movie and that’s saying something. Fortunately, it turned out that Wahlberg’s accent was deliberately bad. The man calling himself Darryl Booth is not actually Darryl Booth. He’s not from Texas. He’s not a professional pilot. Instead, he’s a hitman who has been sent to kill both Winton and Madolyn. Unfortunately, Madolyn and Winston don’t realize that until the plane has already taken off.

Flight Risk starts out as an enjoyably silly movie but it’s ultimately done in by the limitations of its plot. Nearly the entire film takes place in that cramped and nondescript airplane and neither Madolyn nor Darryl are really compelling enough to hold onto your interest over the entire course of the film’s 90 minute running time. Winston, on the other hand, is actually a compelling character and Topher Grace shows, once again, that he deserves a bigger film career than the one he has. Unfortunately, Winston spends the majority of the film incapacitated. He’s either in handcuffs and stuck in the back of the plane or he’s sitting up front and freaking out but he never gets to do as much as one might wish. Instead, the entire film comes down to Darryl taunting his targets and Madolyn struggling to figure out how to fly the plane. To be honest, the film actually makes flying look pretty easy. I mean, Madolyn has no experience as a pilot and she somehow still manages not to crash. How difficult could it be?

Of the three main actors, Topher Grace gives the best performance, managing to give a fully-rounded performance even when Winston is incapable of moving. For the first thirty minutes or so of the film, Mark Wahlberg is enjoyably over-the-top but then his character just becomes a standard talkative villain. Michelle Dockery is stuck playing a boring character and she never brings much life to her flat dialogue. If anything, she’s outacted by an unseen Leah Remini, who provides the voice of Madolyn’s partner and proves that she can still curse like a champ.

Flight Risk continues the pattern of scripts that rank high on Hollywood’s “black list,” (that is, the annual list of the most popular unproduced scripts in Hollywood), being turned it into disappointing films. At least it’s slightly more fun than Cedar Rapids.

The TSL Grindhouse: Death Drug (dir by Oscar WIlliamas)

Posted on April 1, 2025 by Lisa Marie Bowman

In 1978’s Death Drug, Philip Michael Thomas plays Jesse Thomas.

Jesse is a plumber with a dream. He wants to be a songwriter, a musician, and most of all, a star. His girlfriend and eventual wife, Carolyn (Vernee Watson-Johnson), stands by him as he sends his music off to record companies and waits for word. When he’s finally given a recording contract, no one is happier for him than Carolyn. Certainly, Jesse’s own father doesn’t seem to care much about his son’s success. “I have no son,” he says, even after Jesse wins a Grammy.

(To be fair, they’ll give just about anyone a Grammy.)

Unfortunately, with success comes temptation. While celebrating at a local club, Jesse is approached by a drug dealer (Frankie Crocker) who gives Jesse a cigarette that is laced with Whack. Whack, as those of us who have seen Disco Godfather can tell you, is PCP. Remember Disco Godfather‘s cry of “We’ve got to attack the whack?” Well, Jesse allows himself to become a victim of whack attack. It starts out simply enough, with a moving painting. Then, before you know it, Jesse’s hairbrush is turning into a hungry alligator and Jesse starts to become convinced that everyone is plotting against him. Even a trip to the grocery store goes wrong as Jesse spots spiders in the produce and zombies in the aisles! Jesse freaks out. He runs outside. He…. well, no spoilers for me. But let’s remember the words of Rudy Ray Moore in Disco Godfather. Put your weight on it! Yes, indeed. Put your weight on it, Jesse.

This is one of those anti-drug films that was probably best enjoyed by people who viewed it while high. It’s a rather short film, which means that Jesse goes from being a hard-working plumber-turned-musician to a ranting and raving maniac in record time. Philip Michael Thomas throws himself into the role, especially the ranting and raving part. I’ve been binging Miami Vice so seeing the usually collected and cool Thomas screaming in terror at things that aren’t there was an interesting experience. Because the film was so short, there’s some filler that’s awkwardly tacked on, presumably to bring the movie up to feature length. We get a news report about a man who went crazy from PCP-usage and had to be taken down by the cops. We get a report about Jesse Thomas’s musical career that features a much-older looking Philip Michael Thomas performing a song that’s more from the 80s than the 70s. (That was inserted into the film when it was re-released in 1985, at the height of Thomas’s Miami Vice success.) There’s a lengthy news report at the end that, hilariously, has a moment where the reporter apologizes for “technical difficulties” that were probably included just to get the movie past the 70-minute mark.

As I mentioned, this film was re-released in 1985. Philip Michael Thomas filmed a special introduction for the film, in which he played pool in his Hollywood mansion and told the viewer that, out of all the roles he had played (“cops, kings….”), none of them meant as much to him as his performance as Jesse Thomas. Philip Michael Thomas is the epitome of 80s cool in that introduction and in a short scene that appears after the end credits. Don’t worry, folks, the film is telling us. Jesse Thomas may have fallen victim to the whack but Philip is still over here putting some weight on it.

In the end, it’s all fairly silly but it does make a nice companion piece to Don Johnson’s Heartbeat. If you’re a success, you really owe it to yourself to have a vanity project. It’s what the people want.

Musical Film Review: Heartbeat (dir by John Nicolella)

Posted on April 1, 2025 by Lisa Marie Bowman

1987’s Heartbeat opens with Don Johnson in an unidentified Central American country.

Rebels are moving through the jungles. Helicopters are flying over villages and firing off missiles. In the middle of it all is Don Johnson, playing a character identified as being “The Documentary Filmmaker.” Johnson carries a large movie camera with him, recording all of the violence and the carnage. Is Johnson trying to expose the evils of the government? Is he trying to expose the rebels? Is he just an adrenaline junkie who can’t help but go to the most dangerous places in the world? I have no idea and I’m not sure that the film does either.

A bomb explodes. Johnson is thrown back. Soon, Don Johnson is being carried into a dark room on a stretcher. It appears that he might be dying but, even as his heartbeat is slowing down, his spirit is still hanging around and having flashbacks to the attack on the village, which we just saw less than a minute ago. Eventually, Johnson’s spirit has other flashbacks. He remembers talking to Paul Shaffer. He remembers his strained marriage to an unnamed woman played by Lori Singer. He remembers his youth as the son of a Las Vegas showgirl who is played by Sandahl Bergman. (Bergman also played a showgirl in Bob Fosse’s All That Jazz and her scenes in this film often feel as if they’ve been directly lifted from Fosse’s classic film.) David Carradine shows up as someone who might be Johnson’s father or who might just be some random guy rolling dice in the backroom of a strip club. Johnson remembers his friendship with a graffiti artist (Giancarlo Esposito), who has a sister (Angela Alvarado) who was a prostitute. The main message seems to be that the Documentary Filmmaker recorded the dangers of the world while also trying to remain emotionally detached, much like Robert Forster in Medium Cool. Now that he’s dying, he’s left to wonder whether he made the right choice in refusing to get personally involved.

Oh, and did I mention that this film is basically a 65-minute music video? Don Johnson sings through the entire movie, in a style that does its best to imitate the tough growl and soulful yearning of Southern rock and roll but which ultimately only serves to show that Johnson made the right decision in focusing on acting instead of singing?

After I came across this film on Lettrboxd and then watched it on YouTube, I did a bit of research (which is a fancy way of saying that I spent a minute reading a Wikipedia entry) and I discovered that, at the height of his Miami Vice success, Johnson released his debut country rock album, Heartbeat. Heartbeat the film was something that Johnson made in order to promote Heartbeat the album. Directed by frequent Miami Vice director John Nicollela, Heartbeat the film is so self-indulgent and determined to prove that Don Johnson is a soulful artist that it becomes oddly fascinating to watch. Johnson’s Documentary Filmmaker is a bit of a cad but the film seems to argue that 1) it’s not really his fault because women find him to be irresistible, 2) it’s really his mom’s fault for getting a job, and 3) it ultimately doesn’t matter because the Filmmaker is a great artist whose work will live on even after he dies. It’s a vanity film for a vanity album and it’s all so vain that it becomes hard to look away from.

In the end, both the music from the album and the promotional film leave one feeling that, in 1987, Don Johnson might have had an unreasonably high opinion of his musical abilities. That said, as anyone who has seen Cold In July can tell you, Don Johnson eventually did become a very good actor.

Music Video of the Day: Man In The Moon by Coldplay (2025, dir by Ben Mor)

Posted on April 1, 2025 by Lisa Marie Bowman

It’s Coldpay in Singapore!

Enjoy!

Late Night Retro Television Review: CHiPs 3.14 “Wheeling”

Posted on March 31, 2025 by Lisa Marie Bowman

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!

Things get weird in California.

Episode 3.14 “Wheeling”

(Dir by Barry Crane, originally aired on December 8th, 1979)

This is one of those weird episodes where Ponch and Jon just keep running into the same people over and over again.

Artie (Paul Gale), Don (Ray Vittie), and Alan (Ron Lombard) are all in wheelchairs but they’re not going to let that stop them from enjoying life and, far more dangerously, playing tag while driving on the highway. Artie’s van taps Alan’s car. Alan taps Don’s car. Don tries to tap Artie’s van. It’s dangerous and Ponch and Jon, when they see it, promptly pull the three men over. Ponch is impressed with Artie’s joie d’vivre. As usual, Baker is less impresses and is like, “You — of all people! — should understand the danger!” (I swear, poor Larry Wilcox. While Erik Estrada got to smile through each episode, it always fell on Wilcox to be the killjoy.)

That said, both Jon and Ponch came to admire Artie and his determination to make sure that all of his wheelchair-bound friends get the most out of life. They even help Artie present a fancy new wheelchair to Brent (David Gilliam), a surfer who has not been able to bring himself to leave the hospital ever since he learned that he will never walk again.

Artie and the gang help out Jon and Ponch as well. Jon and Ponch are searching for a blue car that was involved in a street race that left one teenager with a broken leg. The teenager’s father, Harry (Taylor Lacher), has been speeding up and down the freeway, searching for the car. Harry even made a citizens arrest, though Delgado (Fil Formicola) had an alibi for the time that Harry’s son was injured. While Delgado makes plans to sue Harry for false arrest. Artie happens to spot the blue car that Jon and Ponch are looking for. Way to go, Artie!

But then, after all of this, Artie and his friends decide to race on Harry’s street. Harry goes crazy. He jumps in his car and takes off after Artie’s van, not realizing that Artie was the one who helped the police catch the guy who hit Harry’s son. It leads to a huge accident at a construction site. The van flips over. Harry’s car flips over. Harry breaks his leg. Artie’s breaks both of his arms. The judge sentences Harry to serve as Artie’s manservant until Artie’s arms heal. Everyone has a good laugh, including Harry.

What a weird episode! I mean, its heart was definitely in the right place. The whole point of the episode was that Artie and his friends were just as capable as anyone who could walk. That’s a good message. But, then, out of nowhere, Artie is suddenly involved in a street race and Harry is trying to crash into his van. And then, at the end of it, everyone finds it all to be terrifically amusing. And somehow, Ponch and Jon manage to be at the scene of every incident involved Harry, Artie, and Artie’s friends. Like, seriously, what are the odds? There are other highway patrolmen in California.

Again, a strange episode. As always, the scenery was nice. It’s always fun to see what the world looked like in 1979. And I appreciated that this episode made a strong case for people not taking it upon themselves to make a citizens arrest because, seriously, people who do that tend to be so obnoxious.

Anyway, I enjoyed it. It was just weird enough to be fun. Drive safely out there!

Retro Television Review: Miami Vice 3.22 “Viking Bikers From Hell”

Posted on March 31, 2025 by Lisa Marie Bowman

Welcome to 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 Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!

This week, it’s Reb Brown vs Don Johnson!

Episode 3.22 “Viking Bikers From Hell”

(Dir by James Quinn, originally aired on April 3rd, 1987)

Biker Reb Gustafson (Reb Brown) has been released in prison, just in time to seek vengeance for the death of his mentor, The Wire. The Wire was killed in a drug deal gone bad so Reb decides to just track down every dealer that The Wire did business with during the final two weeks of his life and kill every one of them. Working with Lascoe (John Matuszak) and Toad (Sonny Landham), Reb cuts a trail of terror through Miami’s underground. Soon, there’s only one name left on the list …. SONNY BURNETT!

At this point, of course, everyone in Miami should know that Sonny Burnett is actually Sonny Crockett. I’ve lost track of how many time Crockett and Tubbs have gotten their undercover identities blown. Usually, the people who figure out that Sonny and Rico are undercover end up dying almost immediately afterwards. But a few of their enemies have survived and it’s odd that they never seem to bother to tell anyone, “Hey, those guys are actually cops.”

This episode of Miami Vice is violent that it verges on self-parody. (I guess that’s to be expected as the script was written by the great John Milius, Milius was credited as “Walter Kurtz.”) Reb Brown is an amusing actor. He never showed much emotion but he always looked believable whenever he was relentlessly tracking down someone that he wanted to kill. Brown is both this episode’s greatest strength and its greatest weakness. As played Brown, Reb Gustasfson barely flinches when he gets shot. He’s a relentless killing machine, the terminator on a motorcycle. That does certainly make him an intimidating figure. At the same time, this episode also features Reb Brown doing his signature yelling and, for me, it was hard to watch this episode without thinking about all the close-up, high-pitched screaming that he did in Space Mutiny.

Tubbs ends up in the hospital in this one. An attack by Reb and his biker pals leaves Tubbs with a concussion. Crockett visits the hospital and there’s a scene where he attempts to have a conversation with a heavily drugged Tubbs. Tubbs’s comments make about as much sense as the last words of Dutch Schultz but it’s still kind of nice to see that Crockett actually does care about his partner. The two of them haven’t always seemed particularly happy with having to work together over the course of the third season.

Biker fans will also be happy to note that Kim Coates has a small role in this one. Crockett and Tubbs beat him up in a biker bar while demanding information about Reb. The odd thing here is that Crockett and Tubbs go into the biker bar and make no attempt to hide the fact that they’re actually cops. And all of the bikers in the bar seem to already know that they’re cops. Seriously, were Crockett and Tubbs the two worst undercover cops in history?

This was an enjoyably over-the-top episode. It was a bit silly but, when it comes to Reb Brown, would you want it any other way?