Late Night Retro Television Review: Degrassi High 1.9 & 1.10 “Sixteen”

Posted on January 26, 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 Sunday, I will be reviewing the Canadian series, Degrassi High, which aired on CBC and PBS from 1989 to 1991! The series can be streamed on YouTube!

This week, we have a special one-hour episode of Degrassi High!

Episode 1.9 and 1.10 “Sixteen”

(Dir by Kit Hood, originally aired on January 9th, 1990)

Everyone’s turning sixteen at Degrassi High and they’re all dealing with in their own different ways.

Snake and Joey, for instance, are old enough now to take Driver’s Education. Snake is nervous. Joey says that he’s been driving since he was twelve. Both of them end up failing their driving test. Don’t feel bad, guys! It took me a few tries too! Snake actually turns out to be an even worse driver than Joey and even takes out a cardboard family at one point. Thanks to Joey and Snake’s bad driving, their poor driving instructor ends up with two black eyes and wearing a neck brace. Nancy (Arlene Lott) finally get her first storyline in forever as she easily shows up Joey and Snake and gets her license on the first try.

(When I was learning how to drive, the instructor claimed that I had a lazy eye and yelled at me so much that I went home in tears. My mom went to the driving school and raised Hell. I never had to drive with that instructor again.)

Michelle, meanwhile, celebrates her birthday by moving out of her house. Apparently, in Toronto, you only have to be sixteen to leave your parents and live on your own. Michelle moves out because her racist father (Richard Krovsky) is upset with her for dating BLT. Michelle gets her own apartment but she also has to take a job to pay the rent and she soon finds herself exhausted and sleeping through school. Concerned with his physical and academic well-being, BLT sets aside his differences with Michelle’s father and tells him where to find her. Michelle and her dad have a conversation. Michelle is going to continue to live on her own but her father is going to help with the rent. So …. okay. I mean, Michelle left him because she didn’t want to live under her father’s rules and that was understandable because Michelle’s father really is a jerk. But now that she’s on her own, Michelle’s father is going to pay her rent. So, presumably, Michelle is once again in a position where her Dad can make the rules. What if he tells her that he won’t pay her rent if she keeps seeing BLT?

While that’s going on, Lucy shoots a video for LD’s 16th birthday. LD is still in the hospital, battling Leukemia. LD doesn’t want anyone to know that she’s sick or that she’s lost all of her hair. Still, Lucy does tell the Farrell twins about what’s going on. Anyway, there’s a sweet scene in which Lucy, the twins, and Alexa visit LD in the hospital and bring her a birthday cake. It was a nice scene and well-acted by Anais Granofsky (who plays Lucy) and Amanda Cook (who plays LD). This episode was LD’s final appearance on Degrassi High which …. well, that’s kind of ominous, isn’t it?

Finally, Alexa can only watch helplessly as everyone announces that they will be missing her sweet sixteen birthday party. Even her boyfriend, Simon, is going to be busy filming a commercial on Alexa’s birthday. “Fine!” Alexa shouts, after cancelling her part, “I’ll be fifteen forever!” In fact, the cake that Alexa brings to the hospital for LD was actually supposed to be for Alexa’s party. “I’ll just have my mother bake another,” Alexa says. Good for you, Alexa!

This was a bit of an uneven episode. I actually preferred the driving class scenes to all of the birthday drama. Of course, as a longtime Degrassi fan, I know that Joey is going to grow up to be a used car salesman. Watching him struggle to drive made me smile.

Next week: Caitlin discovers that Claude is no good! It’s about time!

Retro Television Review: Homicide: Life On The Street 3.1 “Nearer My God To Thee”

Posted on January 26, 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 Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.

This week, we begin the third season!

Episode 3.1 “Nearer My God To Thee”

(Dir by Tim Hunter, originally aired on October 14th, 1994)

The third season of Homicide opens with a disgusted Stan Bolander watching a relatively tame soap opera in the breakroom. He’s offended by the fact that two of the show’s characters are shown in bed. To Bolander, that’s the equivalent of pornography on network television. Lewis points out that television execs force showrunners to add sex in order to bring in ratings. Munch mentions that it’s strange that television is allowed to show sex but not nudity. Munch then goes on to predict that there will soon be hundreds of channels, a channel for every interest. There will be channels about animals and religion and politics and soon, anything you want to see will be at your finger tips and it will lead to people becoming dull and lazy. John Munch, super prophet!

Hmmm …. do you think maybe Tom Fontana, who wrote this script and was one of Homicide’s executive producers, was maybe venting some of his own frustration over the demands that NBC was making in return for giving a third season to the critically acclaimed but low-rated Homicide? Because the third season premiere of Homicide is a bit different from the previous two seasons. For one thing, Jon Polito is no longer in the cast. (Lewis mentions that Crosetti is on vacation in Atlantic City.) Isabelle Hofman, who is certainly more attractive than anyone who has previously appeared on the show, has joined the cast as Lt. Megan Russert, the second shift commander. And this episode features its share of nudity and sex.

At the same time, it’s still an excellent episode of Homicide. Isabelle Hofman gives a tough and no-nonsense performance as Russert and, by the end of the episode, she seems as if she belongs in the ensemble as much as her less glamorous castmates. And this episode has its share of sex and nudity but it’s all essential to the plot. This episode lets us know that, for now, Homicide is a show that can adjust without losing its integrity.

The episode’s case is a red ball (which is a term used to indicate it’s a case that’s going to get media attention). Katharine Goodrich, the 30 year-old founder of a shelter for battered women, has been found dead in a dumpster, nude except for a pair of long white cotton gloves, the type of gloves that you might expect to see at a royal procession but not at a crime scene. Russert’s shift has picked up the case and, to everyone’s horror, the incompetent and racist Roger Gaffney (Walt MacPherson) is the primary detective. The brass ask Giardello to keep an eye on Russert because they feel she’s too inexperienced to handle the investigation. Giardello (and let’s take a moment to acknowledge just how wonderful Yaphet Kotto was in this role) calls in his own detectives to help out the second shift. As you might have guessed, the two shifts do not have much respect for each other. It’s chaos, especially when Gaffney and Pembleton nearly come to blows over Gaffney’s racism, Russert defuses the situation and the scene, to be honest, is a bit overwritten. From the first minute she appeared in the episode, Hofman has been credible as a detective and a lieutenant so writing one heavy-handed scene just so she can further prove herself feels almost an insult to the strength of her performance. Hofman (and Russert) has already proven herself without having to dare Pembleton to shoot Gaffney and throw his life away.

That said, this was a strong episode. Goodrich was a devout Catholic and Pembleton and Bayliss discuss their own views on religion. Bayliss has tried out all the Protestant denominations (even the — *snort* — Unitarians) and is a bit of a cynic. Pembleton was educated by Jesuits and says at one point that, “There are two types of Catholics. Devout and fallen. I fell.” It’s a scene that could have been awkward but Andre Braugher and Kyle Secor pull it off wonderfully. Secor, especially, has really come into his own. Bayliss is no longer the awkward and earnest rookie from the first season. In fact, Bayliss has so come into his own that he agrees to invest in a bar with Lewis and Munch. They’re burying the Waterfront!

(Before Bayliss offers to invest, there’s a humorous scene where Much and Lewis try to convince Bolander to not only invest but to also be the bar’s mascot. “A big man deserves a big meal,” Munch says. Bolander — who I’m happy to say is far less whiny in this episode than he was during the previous two seasons — is not interested. It’s kind of funny how Munch basically hero worships a guy who really seems like he wants nothing to do with him outside of work.)

Kay spends the episode taking calls from Felton’s wife, Beth (Mary B. Ward). Beth recently kicked Felton out of the house because she thought Felton was cheating on her. Felton admits to Kay that he is cheating on her. When Kay isn’t running interference for her partner, she’s defending Russert when the other detectives insinuate that Russert must be slept her way to the top. Kay lists all of Russert’s qualifications and commendations. Yay, Kay! You tell them! Later, Russert sees Kay looking exhausted and snaps at her to get to work. “Bitch,” Kay mutters. Ouch! Still, I laughed.

Felton breaks into his house to retrieve a suit, just to be confronted by Beth. An obviously unstable Beth proceeds to take a pair of scissors to Felton’s jacket before then stripping down to her underwear, getting in bed, and asking Felton to leave so she can get some sleep. (I’m going to guess that rather disturbing and deliberately anti-erotic scene was Fontana’s subversive answer to the NBC execs who asked him to sex up the show a little.) Later, Russert finally goes home to get some rest and check in on her daughter. Felton shows up at her front door and, after he tells her the one of his leads on the Goodrich murder went dry, she responds by passionately kissing him. Now, we know where Felton has been going whenever Beth kicks him out.

As for the Goodrich murder, it turns out that, despite what everyone assumed, she was not raped. After a nun tells Pembleton and Bayliss that Katherine never wore gloves, Pembleton deduces the gloves were put on her body after she was killed. Gaffney insists that Katherine’s murderer was probably the boyfriend of one of the women at the shelter but Pembleton disagrees. (This leads to the fight that I mentioned earlier.) While Russert wants to keep the gloves out of the news, a smarmy reporter (Tony Todd) threatens to reveal their existence unless she agrees to come to him first with any developments. As the episode ends, Pembleton and Bayliss are canvassing the crime scene and it’s hard not to notice that they are now the ones wearing white gloves, rubber in this case. Bayliss says its pointless to keep canvassing the crime scene. But then he and Pembleton spot a storage shed with a busted lock. As they open the door, the end credits begin.

To be continued!

What a great way start to season 3. Yes, I realize that this case is pretty much the exact opposite of the gritty, pointless murders that the first two seasons focused on but still, I am now very much wondering who killed Katherine Goodrich and why they put the gloves on her hands. I hope this won’t be another unsolvable Adena Watson case. Fortunately, I have total faith in Frank Pembleton.

I can’t wait to see what happens next week!

Song of the Day: Mean Street by Van Halen

Posted on January 26, 2025 by Lisa Marie Bowman

I was trying to figure out what song to pick for song of the day when I happened to see that today would have been Eddie Van Halen’s birthday. I nearly picked Panama for our song but then I saw this video for a song called Mean Street on YouTube and I felt the video showed off Van Halen’s guitar playing a bit more than the video for Panama.

And that’s how Mean Street become today’s song of the day!

(Plus, I want to save Panama for whenever we get around to officially annexing it.)

At night I walk this stinkin’ street past the crazys on my block and I see the same old faces and I hear that same old talk and I’m searching for the latest thing, a break in this routine, I’m talkin’ some new kicks, ones like you ain’t never seen

This is home, well, this is Mean Street, it’s our home, the only one I know

And we don’t worry ’bout tomorrow ’cause we’re sick of these four walls
Now what you think is nothin’ might be somethin’ after all
Now you know this ain’t no through street, the end is dead ahead
The poor folks play for keeps down here, they’re the living dead

Come on down, huh, down to Mean Street
They’re dancin’ now, Lord, out on Mean Street
Dance, baby

It’s always here and now, my friend, it ain’t once upon a time, it’s all over, but the shouting, I come, I take what’s mine
We’re searching for the latest thing, a break in this routine, talkin’ some new kicks ones like you ain’t never seen

This is home, mmm, this is Mean Street, it’s our home, only one I know

See, a gun is real easy in this desperate part of town, turns you from hunted into hunter (yeah), you go an’ hunt somebody down, wait a minute, ah, somebody said fair warning, Lord, Lord, strike that poor boy down

Songwriters: Edward Van Halen / Alex Van Halen / Michael Anthony / David Lee Roth

#SundayShorts with WEDLOCK (1991)!

Posted on January 26, 2025 by Bradley Crain

Since Sunday is a day of rest for a lot of people, I present #SundayShorts, a weekly mini review of a movie I’ve recently watched.

Master diamond thief Frank Warren (Rutger Hauer) pulls off a big job with the help of his fiancé Noelle (Joan Chen) and his best friend Sam (James Remar). Unfortunately, after the job is finished, Noelle unceremoniously ends her courtship with Frank when she shoots him multiple times because she’s now hooked up with Sam. The next time we see Frank, who somehow survived the close-range shootings, he’s on a bus to a prison called Camp Holliday, which is run by Warden Holliday (Stephen Tobolowsky). Camp Holliday is a high-tech prison where each inmate is gifted a collar containing an explosive device that also happens to be electronically connected to another inmate. As long as the two prisoners are within 100 yards from each other, it’s all good. If they are separated by more than 100 yards, their collars will explode leaving a bloody nub where their head used to be. And since nobody knows who their “wedlock partner” is, trying to escape is not a strong option. One day fellow prisoner Tracy Riggs (Mimi Rogers) comes to Frank and tells him that she’s his wedlock partner. Through a variety of circumstances, the two are able to escape, but they still must maintain their 100-yard proximity as the authorities try to track them down. Meanwhile, Sam and Noelle, and even Warden Holliday, have all teamed up to try to find where Frank stashed the diamonds prior to heading to prison. And what about Tracy, who’s side is she really on?

I didn’t have the Home Box Office channel when I was growing up, so I wasn’t aware of this film until it premiered on home video as “DEADLOCK.” Of course, being a huge fan of Rutger Hauer, I rented it as soon as possible. The key to lower budget, made-for TV movies working will always be tied to three things: an entertaining premise, a game cast, and a director who can put the movie together. I’m happy to report that WEDLOCK has each of these things. Even though we had seen exploding neck collars in prison before in THE RUNNING MAN (1987), I like the way this film ties one prisoner’s fate to another’s. That extra dimension makes for some exciting moments in the film. Rutger Hauer is especially good in WEDLOCK. If any other actor was in the lead, I honestly doubt I would have enjoyed it as much, but with him it becomes a fun movie. And the fact that he’s tied to the beautiful Mimi Rogers for most of the movie makes it that much more fun. The remainder of the cast goes pretty far over the top, but that’s okay because subtle character portrayals are not part of the equation in these types of movies. James Remar and Joan Chen are fun as the initial betrayers and current pursuers, Basil Wallace is effectively evil as a bully and fellow inmate, and Stephen Tobolowsky is his usual fun self as Warden Holliday. Director Lewis Teague has a pretty nice resume of interesting films leading up to WEDLOCK, including ALLIGATOR (1980), FIGHTING BACK (1982), CUJO (1983), CAT’S EYE (1985), and NAVY SEALS (1990). He does a fine job here, as the movie has many well executed scenes that play out at a nice pace. Overall, I’ve always been a fan of low budget action movies that are done well. This one fits the bill for me.

Five Fast Facts:

Rutger Hauer and Joan Chen worked on 3 films together, including WEDLOCK. I have a soft spot in my heart for their film THE BLOOD OF HEROES (1989) and recommend it. I thought their other movie, PRECIOUS FIND (1996) was pretty bad. I watched it one time in the 90’s and haven’t watched it since.
WEDLOCK received a Primetime Emmy nomination for “Outstanding Individual Achievement in Sound Editing for a Miniseries or a Special.”
Even though WEDLOCK was set “in the future,” early in the film we see a movie theater marquee showing the Steven Seagal movie MARKED FOR DEATH (1990). I found that interesting considering that Basil Wallace is a bad guy in WEDLOCK, and he played twin brother bad guys in MARKED FOR DEATH. Danny Trejo also has small parts in both WEDLOCK and MARKED FOR DEATH.
Mimi Rogers starred in another film in 1991 called THE RAPTURE. It’s a thought-provoking film that some people love, and some people hate. I personally found it intriguing, and it features a really strong performance from Rogers.
In 1995, the film DEADLOCK 2 was released. It’s not a sequel as it doesn’t build on the events of the first film or bring back any of the characters, but it is set in a world of exploding prison collars. The film stars Esai Morales and Nia Peeples.

When I rented the film in the early 90’s, it was called DEADLOCK. I’m sure I owned it on VHS at one point in my life.

Check out the trailer below:

Music Video of the Day: People, Let’s Dance by Public Service Broadcasting (2021, dir by Chloe Howard)

Posted on January 26, 2025 by Lisa Marie Bowman

Let’s do it!

I love Public Service Broadcasting. I also love dancing on a rooftop in a rainy city.

Enjoy!

Late Night Retro Television Review: Check It Out! 3.5 “Not For Commercial Use”

Posted on January 25, 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 Saturdays, I will be reviewing the Canadian sitcom, Check it Out, which ran in syndication from 1985 to 1988. The entire show is currently streaming on Tubi!

This week, the news comes to Cobb’s!

Episode 3.5 “Not For Commercial Use”

(Dir by Alan Erlich, originally aired on October 18th, 1987)

The local news station is coming down to Cobb’s to do a story on how things have changed at the store now that the company is under new management.

Really?

Is it just a super slow news day or something? The insinuation is that it’s actually going to be a 30-minute news special, all about an obscure grocery store in the suburbs of Ontario. (In this episode, Check It Out! finally admits that the show is taking place in Canada.) I mean, even if it is a slow news day, I just can’t imagine that a thirty-minute story about Cobb’s would be a huge ratings grabber.

Howard is excited about the idea of being on television. He calls his Aunt Lil and promises to tug on his ear so that she’ll know that he’s thinking of her. Howard imagines himself as a TV star. There’s Howard hosting a talk show! There’s Howard as a tough detective. It’s all kind of silly but, in its way, kind of cute. Howard is a lot more likable this season than he was during the previous two seasons. And Don Adams, who can sometimes seem a bit indifferent when it comes to playing Howard, actually gave a lively performance in this episode.

TC Collingwood (Elizabeth Hanna), who I guess is supposed to be the liaison between the store and the corporate offices, does not want Howard to appear on TV. She feels that Howard is a bit too …. I guess “dorky” would be the right term to use here. She thinks that Howard is going to embarrass the store with his bad jokes and his Bogart impersonation. TC would rather focus on employees like Leslie, who now wears a chef’s hat and who has apparently transferred from working as a cashier to working in the deli.

(One thing that I’ve noticed is that, during season 3, the show finally hired enough extras to make the store seem like a real place. There are now employees and shoppers all over the place. Marlene is no longer the only cashier and Leslie appears to have a good crew working with him at the deli)

As for Howard, he does manage to get on television. He simply cannot be stopped! He wanders in front of the camera. He tells bad jokes. He does even worse impersonations. TC ends up locking him in a meat locker but it turns out that the CEO of the company really enjoyed Howard and his antics. Good for Howard, I guess.

This episode continued this season’s pattern of being far better than the two that came before it. For once, every member of the cast was allowed a chance to shine. This episode was worth watching for Viker’s attempt to tell a knock knock joke alone. Check It Out! was a deeply silly show but at least in the third season it’s finally got consistently funny.

Lisa Marie’s Week In Television: 1/19/25 — 1/25/25

Posted on January 25, 2025 by Lisa Marie Bowman

Here are just a few (admittedly, very few) thoughts on what I watched this week!

Abbott Elementary (Wednesday Night, ABC)

Unlike the characters in Abbott Elementary, I’m not a fan of the American Labor Movement but I still enjoyed this week’s episode about a bus strike. The remote learning stuff was definitely the highlight of the episodes.

Dark (Netflix)

Case and I are continuing to watch this German show on Netflix. It’s a very intriguing saga of time travel and murder.

Hell’s Kitchen (Thursday Night, Fox)

Without Brandon in the competition, who cares? It seems kind of obvious that Egypt’s going to win.

Kitchen Nightmares (Tuesday Night, Fox)

Chef Ramsay saved another restaurant in New Orleans. That’s good and all but I still wouldn’t want to eat anywhere that’s been featured on Kitchen Nightmares. Once a mess, always a mess. At least, that’s the way that I view things as far as food preparation is concerned.

The Oscar Nominations (Thursday Morning, Hulu)

The nominations didn’t do much for me this year. Honestly, I have to wonder how long it’s going to be until ABC dumps the Oscars and the ceremony is reduced to just streaming on Hulu. It’s going to happen sooner or later.

The Presidential Inauguration (Monday, C-Span)

I’m thankful for C-Span. I was able to watch the whole thing without any commentary for either side.

I also watched and reviewed:

Ghosts of Sundance Past: In The Company Of Men (dir by Neil LaBute)

Posted on January 25, 2025 by Lisa Marie Bowman

The Sundance Film Festival is currently underway in Utah. For the next few days, I’ll be taking a look at some of the films that have previously won awards at Sundance.

1997’s In The Company of Men is a film about two guys playing a series of very viscous jokes.

Howard (Matt Malloy) and Chad (Aaron Eckhart) are two mid-level executives who have been sent to work at a branch office for six weeks. While Chad is talkative and aggressive, Howard is much more meek and often seems to be in awe of the far more confident Chad. What the two men have in common is a lot of resentment and bitterness towards women. Chad suggests that they should both date a woman at the same time and fool her into falling for both of them. Then, they’ll both dump her at the same time. Chad has even picked out a victim, Christine (Stacy Edwards), a deaf and introverted co-worker.

That Chad would come up with such a cruel scheme really isn’t a surprise. From the first minute that we see Chad, we think we can tell what type of person he is. Because this is a movie, we hold on to hope that Chad will somehow reveal that he’s not as bad as he seems but, in the end, the whole point of the film is that Chad is not only as bad as we initially think he is but he’s actually even worse. Howard, on the other hand, comes across like a rather mild-mannered guy, the stereotypical nerdy mid-level manager who no one ever notices. Howard could never come up with a scheme like this on his own but, once Chad suggests it, Howard agrees. Howard is a natural follower. He looks at Chad and he sees who he wants to be. Chad looks at Howard and sees someone who he can easily manipulate.

Chad and Howard set their plan in motion and yes, it is difficult to watch as they both pretend to be falling in love with the sensitive Christine while making cruel fun of her behind her back. Again, we know that at least one of the men is going to have second thoughts and try to back out of the plan. We know this because we’re watching a movie. We spend most of the movie hoping that Chad is going to be the one to find his conscience because Aaron Eckhart is the more charismatic of the two men and Chad is the one with whom Christine seems to be truly falling in love. Instead, it’s Howard who falls in love with Christine while Chad remains as sociopathic as ever. By the end of the film, Chad reveals just how manipulative he truly is and Howard discovers that Christine was not the only victim of Chad’s joke.

In The Company Of Men is not an easy film to watch. The comments that Chad and Howard make are shockingly cruel, though one gets the feeling that they’re probably an accurate reflection of what men like Chad and Howard sound like when they’re in private. Director Neil LaBute doesn’t make any effort to soften or excuse their misogyny. It’s a testament to the talents of Eckhart, Malloy, and Edwards that we stick with the film. In the end, In The Company Of Men is an unsettling portrait of misogyny and toxic masculinity, one that is made all the more disturbing by Aaron Eckhart’s charismatic performance as a truly despicable person. The film uses Eckhart’s middle-American good looks to subversive effect and, even when he’s playing such a hateful character, there’s something undeniably fascinating about him. You watch his performance of Chad and you’re almost desperate to find some sort of good inside of him. It’s not there, though. That’s what is truly frightening about In The Company Of Men.

As the 1997 Sundance Film Festival, In The Company Of Men won the Filmmaker’s Trophy.

Lisa Marie Reviews An Oscar Nominee: Reds (dir by Warren Beatty)

Posted on January 25, 2025 by Lisa Marie Bowman

In the 1981 film Reds, Warren Beatty plays Jack Reed, the radical journalist who, at the turn of the century, wrote one of the first non-fiction books about Russia’s communist revolution and then went on to work as a propagandist for the communists before becoming disillusioned with the new Russian government and then promptly dying at the age of 32.

Diane Keaton plays Louise Bryant, the feminist writer who became Reed’s lover and eventually his wife. Louise found fame as one of the first female war correspondents but then she also found infamy when she was called before a Congressional committee and accused of being a subversive.

Jack Nicholson plays Eugene O’Neill, the playwright who was a friend of both Reed and Bryant’s and who had a brief affair with Bryant while Reed was off covering labor strikes and the 1916 Democratic Convention.

Lastly, Maureen Stapleton plays Emma Goldman, the anarchist leader who was kicked out of the country after one of her stupid little dumbass followers assassinated President McKinley. (Seriously, don’t get me started on that little jerk Leon Czolgosz.)

Together …. well, I was going to say that they solve crimes but that joke is perhaps a bit too flippant for a review of Reds. Reds is a big serious film about the left-wing activists at the turn of the century, one in which the characters move from one labor riot to another and generally live the life of wealthy bohemians. Reed spends the film promoting communism, just to be terribly disillusioned when the communists actually come to power in Russia. For a history nerd like me, the film is interesting. For those who are not quite as obsessed with history, the film is extremely long and the scenes of Reed and Bryant’s domestic dramas often feel a bit predictable, especially when they’re taking place against such a large international tableaux. At its best, the film is almost a Rorschach test for how the viewer feels about political and labor activists. Do you look at Jack Reed and Louise Bryant and see two inspiring warriors for the cause or do you see two wealthy people playing at being revolutionaries?

Reds was a film that Warren Beatty spent close to 20 years trying to make, despite the fact that the heads of the Hollywood studios all told him that audiences would never show up for an epic film about a bunch of wealthy communists. (The heads of the studio turned out to be correct, as the film was critically acclaimed but hardly a success at the box office.) It was only after the success of the 1978, Beatty-directed best picture nominee Heaven Can Wait that Beatty was finally able to get financing for his dream project. He ended up directing, producing, and writing the film himself and he cast his friend Jack Nicholson as O’Neill and his then-romantic partner Diane Keaton as Louise Bryant. (Gene Hackman, Beatty’s Bonnie and Clyde co-star, shows up briefly as one of Reed’s editors.) One left-wing generation’s tribute to an early left-wing generation, Reds is fully a Warren Beatty production and, for his efforts, Beatty was honored with the Oscar for Best Director. That said, the Reds lost the award for Best Picture to another historical epic, Chariots of Fire. Chariots of Fire featured no communists and did quite well at the box office.

The film is good but a bit uneven, especially towards the end when we suddenly get scenes of Louise Bryant trudging through Finland as she attempts to make it to Russia to be reunited with Reed. The film actually works best when it features interviews with people who were actual contemporaries of Reed and Bryant and who share their own memoires of the time. In fact, the interviews work almost too well. The “witnesses,” as the film refers to them, paint such a vivid picture of the Reed, Bryant, and turn of the century America that Beatty’s attempt to cinematically recreate history often can’t compete. One can’t help but feel that Beatty perhaps should have just made a documentary instead of a narrative film.

(Interestingly enough, many of the witnesses were people who were sympathetic to Reed’s politics in at the start of the century but then moved much more to the right as the years passed. Reed’s friend and college roommate, Hamilton Fish, went on to become a prominent Republican congressman and a prominent critics of FDR.)

That said, Jack Nicholson gives a fantastic performance as Eugene O’Neill, adding some much needed cynicism to the film’s portrayal of Reed and Bryant’s idealism. Keaton and Beatty sometime both seem to be struggling to escape their own well-worn personas as Bryant and Reed but Beatty does really sell Reed’s eventually disillusionment with Russia and the scene where he finally tells off his Russian handler made me want to cheer. Fans of great character acting will want to keep an eye out for everyone from Paul Sorvino to William Daniels to Edward Herrmann to M. Emmet Walsh and IanWolfe, all popping up in small roles.

Reds is not a perfect film but, as a lover of history, I enjoyed it.

Retro Television Review: Welcome Back Kotter 4.15 “Barbarino’s Baby”

Posted on January 25, 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 Saturdays, I will be reviewing Welcome Back Kotter, which ran on ABC from 1975 to 1979. The entire show can be purchased on Prime.

This week, a longtime Sweathog makes his final appearance.

Episode 4.15 “Barbarino’s Baby”

(Dir by Norman Abbott, originally aired on February 3rd, 1979)

This episode was John Travolta’s final appearance as Vinnie Barbarino. That means no more visits to his ugly apartment, no more confusion as to whether or not Barbarino is actually still enrolled in high school, and no more of John Travolta trying his best to give a good performance while the rest of the cast sleep walk through their roles. Seriously, you have to admire that Travolta was still trying to give a good performance even under the weird circumstances of the fourth season. The studio audience was going to cheer no matter what Travolta did. Travolta could have just shrugged off the entire show and character. I’m sure the temptation to do so was there. Instead, he did his best.

His final episode really isn’t worth the effort, though, Barbarino wants to get promoted from scrubbing the floors of the hospital to working in the emergency room. The head nurse says that there’s no way someone as dumb as Barbarino could be trusted in the ER. Barbarino asks Mr. Woodman to write a letter. Julie takes it upon herself to call the hospital and put in a good word for him. As for Gabe …. he’s not in this episode. Gabe does nothing!

Maybe Barbarino would get promoted if his idiot friends weren’t always hanging out at the hospital. Seriously, does that group have nothing better to do than hang out in the world’s ugliest medical facility? Couldn’t they go hang out on Christopher Street with Horshack or something? Remember when the Sweathogs were an actual gang who committed crimes? Epstein was once voted most likely to kill someone. Freddie used to get accused of stealing every other week. Beau showed up and they all got wimpy.

Anyway, Barbarino and the Sweathogs get on an elevator with a pregnant woman. The elevator stops between floors. The woman goes into labor. Time for Barbarino and the Sweathogs to deliver a baby …. *sigh*. Seriously, there is nothing more stress-inducing than the idea of a bunch of 30 year-old high school students delivering a baby. The important thing is that the head nurse is able to talk Barbarino through the delivery and Barbarino gets his promotion! Barbarino is going to the ER! That’s good news for Horshack because there’s no way he’s not going to end up getting his stomach pumped in the ER eventually.

And that’s John Travolta’s final episode of Welcome Back, Kotter. It’s a bit of a let down, considering how important the character of Vinnie Barbarino was to the success of the show. Imagine if The Office finale only allowed Michael Scott to appear for two minutes and only gave him one line of dialogue? THAT WOULD BE INSANE!

I can only wonder what the rest of this show is going to be like without Kotter and Barbarino. My fear is that it’s going to involve a lot of Horshack, We’ll find out. There’s only a few episodes left!