A FAMILY THING (1996) – Robert Duvall & James Earl Jones are brothers!

Posted on January 9, 2025 by Bradley Crain

Just for the hell of it, I went on a little Robert Duvall marathon for his birthday on January 5th. I started the marathon off with his superior western with Kevin Costner, OPEN RANGE (2003). Next up was Duvall’s excellent crime film with Joe Don Baker and Robert Ryan, THE OUTFIT (1973). Duvall was in badass mode in this one. Based on one of Richard Stark’s “Parker” books, this was my first time to watch the film and damn, it was excellent. After that, I watched the bleak THE ROAD (2009), starring Viggo Mortensen, where Duvall just had a small part. It was a downer. I finished off the marathon late in the evening with A FAMILY THING (1996). I remember when this movie came out in the 1990’s because it was co-written by Billy Bob Thornton. Thornton was still a year away from his massive success with the movie SLING BLADE, but I knew him from his writing and co-starring in the superior crime film ONE FALSE MOVE (1991), as well as his small role in TOMBSTONE (1993). As an Arkansan, I knew Thornton was from Arkansas so I had taken a particular interest in him. But I was only 22 years old when A FAMILY THING was released, and a movie about a couple of old guys resolving family issues didn’t seem that appealing to me. As a guy into his 50’s, the entire concept seems more interesting to me now, so I gave it a spin for the first time to close out the marathon.

The story opens up in rural Arkansas with Earl Pilcher Jr. (Robert Duvall) getting the shock of his life when his beloved mother writes a final letter to him and instructs her local pastor to deliver it a few days after her death. The letter tells Earl that his biological mother was a black woman named Willa Mae who died in childbirth. It seems that Earl’s dad had gotten Willa Mae pregnant, and since he came out white, his “mother” was able to raise him as her own without having to tell him the truth. The letter also tells him that he has a half-brother named Ray Murdock (James Earl Jones) living in Chicago. It’s her dying wish that he meet Ray and get to know him as family. Pissed at his dad, and wanting to honor his mom, Earl heads to Chicago to meet Ray. Earl knows that Ray is a cop so he’s able to track him down. They immediately don’t like each other, but through a variety of circumstances, Earl ends up staying at Ray’s house for a couple of days. While there, he meets Ray’s wise, old Aunt T., Willa Mae’s sister (Irma P. Hall) and his sullen son Virgil (Michael Beach). Will the two men continue to push each other away, or will they eventually find the family connection that exists under all that messy past?

I was surprised how deeply I was affected by A FAMILY THING. I’d be lying if I said I didn’t get teary-eyed a couple of times. The movie may use issues of adultery and racism to get the ball rolling, but more than anything else, it seems to understand that life is messy and that people are messy. We’ll disappoint ourselves, we’ll disappoint other people, and other people will disappoint us. There’s a reason that many people find their love in dogs and cats instead of people, because real relationships can be tough. The truth about my own life is that I could not have appreciated this film in 1996 at only 22 years of age. I was too naive. That’s no longer the case in 2025, and I can now truly relate to this story of two men who share a painful history, find common ground, and decide it’s worth moving forward together because family really does matter.

A movie like A FAMILY THING has no chance of working without a great cast, and this movie is a thespian jackpot. Robert Duvall is spot on perfect as the good ole guy from Arkansas, with a little bit of a racism engrained down deep into his soul, who now has to deal with the fact that he is half black. The scene where he confronts his dad about the lies that had been told to him all his life is as good as it gets. James Earl Jones matches Duvall in the even trickier role as the man who has always known about his “white” half brother Earl. This man has buried his hatred away for Earl’s father for decades, who he blames for the death of his own mother, and now has to deal with those feelings being dredged back up to the surface when Earl shows up in Chicago. Jones perfectly balances his character’s desire to keep the past in the past, with his decency as a man who doesn’t want to just throw Earl out on the street. He eventually softens towards him no matter how much bitterness he has for Earl’s dad. And neither Duvall or Jones even give the best performance in the film. That honor goes to Irma P. Hall as the blind, but extremely perceptive Aunt T. She sees through all of their bullshit, as she states to each of them on different occasions, and encourages them to get to know each other because they’re family. As they play games of racism and bitterness, she reminds them they are brothers no matter the color of their skin. It’s the performance of a lifetime and was at least worthy of an Oscar nomination in my opinion.

Overall, A FAMILY THING may compress the amount of time and potential therapy it would take to resolve the type of family history presented here, but it does find a certain truth in the power of relationships. Earl and Ray don’t have to recognize the fact that they are brothers. As a matter of fact their lives are just fine without each other. But it’s their willingness to embrace the messy truth and find a way to connect with each other that makes the movie meaningful to me!

Here’s the trailer for A FAMILY THING.

Late Night Retro Television Review: Monsters 3.4 “Cellmates”

Posted on January 8, 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 Wednesdays, I will be reviewing Monsters, which aired in syndication from 1988 to 1991. The entire series is streaming on YouTube.

It’s Rex Manning Day on Monsters!

Episode 3.4 “Cellmates”

(Dir by Stephen Tolkin, originally aired on October 21st, 1990)

Timothy Danforth (Maxwell Caulfield) is a rich American kid who has gotten in trouble while visiting Mexico. He was arrested after hitting a kid with his car and then punching out the kid’s father, who just happened to be a cop. After Danforth was arrested, the cops looked inside his car and found a lot of drugs. Convinced (perhaps correctly) that Danforth is a drug dealer and a smuggler, the cops promptly toss him into a filthy jail cell.

The cocky Danforth is convinced that his father will soon free him from the prison. However, in the next cell, an old man (Ferdy Mayne) says that Danforth has been tossed into a special cell. It’s a cell that is reserved for the worst of the worst. The Old Man says that no one ever leaves the cell. At first, Danforth laughs off the old man’s claims but, at night, the Old Man dissolves into a puddle of liquid that enters Danforth’s cells and attempts to attack him. Danforth survives but when he tells his lawyer and his jailers about what happened, the authorities respond by chaining Danforth to a wall, leaving Danforth at the mercy of the Old Man.

It’s a pretty good thing that Danforth is such an unlikable and downright loathsome character because, otherwise, this would be a really disturbing episode. Instead, Danforth is a stereotypical rich kid who thinks that he can get away with anything and that the rules don’t apply to him. He shows no remorse about having hit a kid with his car. He’s cocky and arrogant from the minute we see him. He’s exactly the kind of guy who gives Americans abroad a bad name. In the end, it’s hard not to feel that he really doesn’t have anyone but himself to blame for his predicament. He’s a victim of his own very bad choices and he’s so confident that he’s untouchable that his final fate feels like karma.

This is a pretty simple episode. A bad guy falls victims to his own stupidity. There’s nothing likable about Timothy Danforth, though Maxwell Caulfield certainly does a good job in the role. Caulfield plays Danforth as being an incredibly spoiled brat, someone who has never been held responsible for his actions and who can’t believe that he’s actually in real trouble. Surprisingly, Caulfield almost gets you to feel sorry for Danforth at the end of the episode. Danforth really had no idea what he was getting himself involved with. That said, in the end, bad decisions are bad decisions and Danforth has no one to blame but himself.

This was an effective episode, with a lot of atmosphere and a good performance from Maxwell Caulfield. So far, Season 3 of Monsters is off to a good start.

Lisa Reviews An Oscar Nominee: Arrowsmith (dir by John Ford)

Posted on January 8, 2025 by Lisa Marie Bowman

In the 1931 Best Picture nominee Arrowsmith, Ronald Colman stars as Martin Arrowsmith, a doctor who is trying to save lives without compromising his ethics.

Arrowsmith is mentored by the famed bacteriologist, Max Gottlieb (A.E. Anson) and married to a nurse named Leora (Helen Hayes). At first, Arrowsmith makes his living as the local doctor in Leora’s small hometown in South Dakota. However, Arrowsmith is ambitious and wants to do more with his life and career than just take care of a small town. He wants to cure the world of disease. When he’s offered a position at the prestigious McGurk Institute in New York, he enthusiastically accepts. Having just suffered a miscarriage, Leora supports Arrowsmith’s decision and travels to New York with him. No matter what happens, Leora is always there to support her husband, even when he doesn’t seem to appreciate it.

When Arrowsmith thinks that he’s discovered an antibiotic serum that appears to be capable of curing all sorts of diseases, he attempts to stay true to the methods taught to him by Dr. Gottlieb. He takes his time. He tests carefully. He doesn’t rush out and give the serum to everyone. However, Arrowsmith finds his methods continually sabotaged by his colleagues, who hope to raise money by telling the press about a miracle serum that can “cure all diseases!” When Arrowsmith later finds himself combatting an outbreak of the Bubonic Plague in the West Indies, he again tries to employ the scientific method but finds himself being pressured by government officials to give his untested serum to every single person on the island. Eventually, Arrowsmith’s ethics are pushed to their limits when even Leora falls ill.

Arrowsmith was based on a best-selling novel by Sinclair Lewis, though the plot was changed to make the story more palpable for film audiences. In the novel, Arrowsmith is a bit of cad who regularly cheats on his wife. In the film, Arrowsmith is passionate and driven but the exact nature of his relationship with wealthy Joyce Lanyon (Myrna Loy) is left so ambiguous that it actually leaves one wondering why the character is in the film at all. What both the film and the novel have in common is an emphasis on the importance of science and the scientific method. Arrowsmith’s idealism runs into the harsh reality of life during an epidemic. Government officials are more concerned with saying that they’ve done something as opposed to considering whether their actions have ultimately done more harm than good. In its way, Arrowsmith predicted the COVID era.

Arrowsmith was the first John Ford film to be nominated for Best Picture and its financial success allowed Ford the freedom to go on to become one of Hollywood’s most important directors. Seen today, Arrowsmith feels a bit creaky and self-important, with little of the visual flair that Ford brought to his later films. Ronald Colman’s performance as Arrowsmith seems a bit stiff, especially when compared to the much more lively (and sympathetic) performance of Helen Hayes. Arrowsmith is a big and serious film and, if we’re going to be honest, it’s a little bit boring. Still, it’s interesting to see the issues of today being debated 90 years in the past.

As for the Oscars, Arrowsmith was nominated for Best Picture, Adaptation, Cinematography, and Art Direction. It lost in all four of the categories in which it was nominated. That year, Best Picture was won by Grand Hotel, which curiously didn’t receive any other nominations at all.

Retro Television Review: The Love Boat 5.12 “Take a Letter, Vicki/The Floating Bridge Game/The Joy of Celibacy”

Posted on January 8, 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 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!

Set sail for adventure, your mind on a new romance….

Episode 5.12 “Take a Letter, Vicki/The Floating Bridge Game/The Joy of Celibacy”

(Dir by Richard Kinon, originally aired on December 12th, 1981)

Captain Stubing notices that Vicki seems to be depressed. He asks his crew if they have any idea what’s wrong with her.

Actually, he could have just asked me. Why is Vicki depressed? Maybe it’s because she’s a teenage girl who spends all of her time on a boat surrounded by people who are all at least twenty to thirty years older than her? Maybe it’s because she doesn’t have any friends her own age? Maybe it’s because Julie’s now too coked up to be the surrogate mother figure that she was during the previous two seasons? Seriously, there’s a lot reasons why Vicki might be depressed but they all have on solution. Let Vicki go to school on the mainland and allow her to have some friends her own age!

The crew, however, thinks that the Captain should just hire Vicki to be his secretary. Stubing agrees. Vicki is happy to have a job and she immediately does the exact same thing that I would do under those circumstances. She rearranges the captain’s entire office. The Captain can’t find anything but personally, I think his office does look better once everything has been straightened up. A messy office leads to a messy mind and, on a cruise ship, a messy mind can lead to a collision with an ice berg.

Vicki then issues a cheerful memo, telling all the members of the crew that they should give the Captain a daily run-down of their plans for the day. Again, I think that makes total sense. The crew, however, is outraged. The Captain is worried that Vicki is taking her position too seriously but he doesn’t know how to fire her. (When did Captain Stubing become a wimp? This is a weird episode.) The crew decides to give Vicki so much work that she’ll quite out of frustration but they discover that Vicki is determined to do a good job. No one knows what to do….

LET HER HAVE FRIENDS HER OWN AGE AND A NORMAL LIFE! THAT’S THE ONLY THING YOU HAVE TO DO!

Anyway, the overworked Vicki eventually falls asleep on the job. The Captain uses that as an excuse to fire her. Vicki smiles because she didn’t really enjoy the job in the first place. Usually, the relationship between the Captain and Vicki is one of the better elements of The Love Boat but this episode left me feeling really bad for Vicki. She’s really missing out on the best years of her life.

As for the other two stories, neither was very interesting. A bridge club made up of four widows takes the cruise and are shocked when one of them (played by Nanette Fabray) decides she would rather spend time with a handsome dentist (Robert Alda) than play bridge. My question here is why would you spend money to play bridge on a cruise while you could just play at home for free. If you’re on a cruise, enjoy the scenery! Don’t just play bridge. Meanwhile, Barry Styles (Jim Trent) pretended to be a big believer in celibacy in order to get “ice queen” Linda Trent (Carlee Watkins) to fall for him. Doc and Gopher made a bet on whether or not he would be successful. DOC! GOPHER! You two know you’re better than that!

This week’s cruise was just sad. The bridge club wasted a lot of money. Linda was the center of a misogynistic bet. Vicki is still going to be lonely and depressed next week. What a sad trip on The Love Boat.

Song of the Day: Heroes by David Bowie

Posted on January 8, 2025 by Lisa Marie Bowman

For today’s song of the day, we have my favorite David Bowie song, Heroes. Heroes was also featured in one of my favorite downbeat movies, 1981’s Christiane F.

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can beat them, just for one day
We can be heroes, just for one day

And you, you can be mean
And I, I’ll drink all the time
‘Cause we’re lovers, and that is a fact
Yes we’re lovers, and that is that
Though nothing will keep us together
We could steal time just for one day
We can be heroes for ever and ever
What d’you say?

I, I wish you could swim
Like the dolphins, like dolphins can swim
Though nothing, nothing will keep us together
We can beat them, for ever and ever
Oh we can be Heroes, just for one day

I, I will be king
And you, you will be queen
Though nothing will drive them away
We can be Heroes, just for one day
We can be us, just for one day

I, I can remember (I remember)
Standing, by the wall (by the wall)
And the guns, shot above our heads (over our heads)
And we kissed, as though nothing could fall (nothing could fall)
And the shame, was on the other side
Oh we can beat them, for ever and ever
Then we could be Heroes, just for one day

We can be Heroes
We can be Heroes
We can be Heroes
Just for one day
We can be Heroes

We’re nothing, and nothing will help us
Maybe we’re lying, then you better not stay
But we could be safer, just for one day

Oh-oh-oh-ohh, oh-oh-oh-ohh, just for one day

Songwriters: Brian Eno / David Bowie

KID GALAHAD (1962) – Charles Bronson teaches Elvis how to box! Happy Birthday to the King!

Posted on January 8, 2025 by Bradley Crain

In celebration of the January 8th birthday of the great Elvis Presley, I decided to watch his 1962 film KID GALAHAD, the only film where he co-stars with my movie hero Charles Bronson. I’ve always been a fan of Elvis Presley and seeing him on-screen with Bronson is a real treat for me.

KID GALAHAD opens with Walter Gulick (Elvis Presley) returning to his hometown in upstate New York. Recently discharged from the army, and in the need of money, the aspiring mechanic finds his way to Willy Grogan’s (Gig Young) boxing camp and agrees to spar with one of his up-and-coming young boxers. Walter doesn’t have much boxing skill, but he ends up having one hell of a right hook and knocks the young boxer flat on his ass. Seeing this, Willy Grogan, who has all sorts of personal and financial problems, thinks Walter might be the answer to getting out of debt to his bookie. Willy asks his trainer Lew (Charles Bronson) to work with the young, strong Walter, who’s now been dubbed “Galahad” by Willy’s girlfriend Dolly (Lola Albright) after he had protected her honor from a “man who doesn’t know how to behave around a lady.” Pretty soon, Willy has fights arranged for Walter under the name of “Kid Galahad.” The first fight begins with Galahad getting his faced being punched repeatedly until he gets one opening and then knocks the other fighter out with one punch. After that, with Lew’s help, Galahad’s skills start showing definite improvement. When he’s not working with Lew at the gym, Galahad finds time to romance and propose to Willy’s sister, Rose (Joan Blackman). This causes problems with the troubled Willy who doesn’t want his sister married to some “meatball” or “grease monkey.” Even worse, smelling money, gangster Otto Danzig (David Lewis) and his henchmen start putting pressure on the financially troubled Willy to force Galahad to take a dive in his big fight with “Sugar Boy” Romero so they can clean up on the fix, going so far as breaking Lew’s hands. Will Willy get the balls to say no to the gangsters? Will Galahad be able to beat Sugar Boy Romero and then retire to open his garage with Rose by his side? You probably already know, but you’ll just have to watch and see!

1962’s KID GALAHAD is a remake of a 1937 movie of the same name directed by Michael Curtiz, and starring cinematic legends Edward G. Robinson, Bette Davis, and Humphrey Bogart. I’ve never seen the earlier version, so I will not compare the two in any way. And to be completely honest, I haven’t watched very many Elvis Presley movies either. As I type this, I can’t think of a single moment I remember in his filmography not included in KID GALAHAD, and I wouldn’t have watched this one without the presence of Charles Bronson. With that said, I think Elvis gives a good performance in KID GALAHAD. He’s very likable, with his character having an old-fashioned chivalry towards women, a friendly, open way with men, and an appreciation for a strong work ethic. I think Elvis handles each of these parts of his character in a way to that makes me want to root for him. As good as Elvis is as Kid Galahad, Gig Young does most of the heavy lifting as the story really revolves around his character’s troubles even more than it does around Galahad. I think he does a pretty good job of taking a character who’s a pretty sorry guy, and by the end of the movie we actually find ourselves starting to like him. Even though he’s in a true supporting role, Charles Bronson is excellent as the trainer who teaches Galahad how to box. Every scene Bronson’s in is elevated by his enormous screen presence and authority. With Bronson in his corner, you feel Galahad is capable of anything. The most powerful scene in the entire film is when the gangsters try to buy his character off under the threat of violence, and he refuses, leading to his hands being broken. After becoming one of the biggest stars on the planet a number of years later, it’s easy to look back at these moments and wonder how in the hell was he not already a huge star in 1962.

Of course, this being an Elvis Presley movie, there are several musical numbers spread throughout the movie. While I don’t remember too much about the songs themselves, they didn’t really take me out of the drama of the movie either. I actually enjoyed seeing Elvis perform, with the people around him clapping along and enjoying themselves. I do remember a specific scene where Elvis is singing as he’s driving down the road, and Bronson’s sitting in the back seat with a big smile on his face like he’s having a great time. That’s my favorite moment of all the songs.

Although I haven’t watched many of his movies, I’ve been an appreciative fan of Elvis Presley all my life. I can’t tell you how many times I heard his Christmas album in my younger years, as my mom would play it almost on repeat once we got to November. He was a talented, versatile singer whose charisma and stage presence have never been matched, and whose influence on music and entertainment is immeasurable. The fact that Elvis Presley and Charles Bronson made KID GALAHAD together means something to me, and I had a great time revisiting the film on his birthday!

See the Original Trailer for KID GALAHAD below.

Film Review: Wild 90 (dir by Norman Mailer)

Posted on January 8, 2025 by Lisa Marie Bowman

Produced, directed, financed by, and starring writer Norman Mailer, 1968’s Wild 90 is incomprehensibly bad. Words escape me when it comes to describing just how boring and pointless this film.

Over the course of four nights, Mailer and two of his friends were filmed in a shabby apartment. Norman Mailer played The Prince, a gangster who talks tough and is constantly doing stuff like punching the room’s only hanging lightbulb. Buzz Farber and Mickey Knox played Cameo and Twenty Years, the Prince’s partners in crime. Acclaimed documentarian D.A. Pennebaker served as cinematographer, using a hand-held camera to capture the three men as they drank, laughed, fought, and pretended to be gangsters.

The plot of the film is not easy to describe, both because the entire film was improvised and also because the soundtrack is so muddy that it’s often impossible to understand what anyone’s saying. As far as I can tell, the Prince’s latest criminal scheme has gone south and the Prince and his two cronies are hiding out in the apartment until the heat dies down. They don’t have much to do, other than drink and exchange profane dialogue. (The three men do their best to sound like real-life, poetically crude gangsters. It’s hard to judge how well they do any of that because the dialogue is often incomprehensible.) Some people drop by the apartment. Normally, that would liven things up but in this one, everyone just seems like they want to leave before Norman Mailer accidentally punches them. One man comes in a with a dog that start barking. Mailer barks back until the dog falls silent.

Making all of this interesting is the fact that, in the 1960s, Norman Mailer was one of America’s leading public intellectuals. Today, living in the age of influencers, it can be easy to forget that there were once public intellectuals, like Mailer, William F. Buckley, Gore Vidal, John Kenneth Galbraith, and Tom Wolfe, who disagreements were followed by the public and who made headlines when they showed up drunk on the daytime talk shows. Mailer was an acclaimed and often controversial writer, one who was as famous for his arrogance and his public feuds as for his novels and essays. Mailer was a New York fixture and a Pulitzer Prize winner He was one of the first writers to suggest that the Left and the Right could be united by a shared belief in individual freedom. A year after the release of Wild 90, Mailer ran an ill-fated campaign for mayor of New York City. His slogan was “No more bullshit!” and his campaign, which attracted some attention early on, was ultimately sabotaged by his habit of showing up drunk to his rallies and insulting his supporters.

What he was not was a very good filmmaker. Wild 90 was Mailer’s first film and it’s a nearly unwatchable disaster. (At least his later film, Maidstone, had Rip Torn around to liven things up.) With its low-budget, black-and-white look and it’s DIY aesthetic, Wild 90 may remind some of the Andy Warhol’s Factory films but Warhol (or, if we’re to be absolutely honest, Paul Morrissey) was at least trying to be subversive. Wild 90, on the other hand, is pure self-indulgence, a chance for Mailer to say, “Look how funny I am!” Farbar and Knox at least manage to give semi-believable performances. Mailer continually looks straight at the camera and seems to panic whenever either of his co-stars start to take the attention off of him. The entire film seems to be Mailer’s attempt to convince everyone that he really was a tough guy.

There is one moment of the film that does work. The film opens with some gorgeously shabby images of lower Manhattan. Norman Mailer was a proud New Yorker so it’s appropriate that the best part of the film is the part that highlights the city he loved.

SHANE (The TV Series) – Episode 2: The Hant (aired September 17th, 1966)

Posted on January 8, 2025 by Bradley Crain

Shane (David Carradine) is awakened in the night by the sound of someone outside his bunk. He sees an old man (John Qualen) looking in the window. He grabs his gun and gets outside in time to see the old man driving off over the ridge in a horse drawn buggy. The next morning Shane is telling Mr. Starett (Tom Tully), Marian (Jill Ireland) and Joey (Chris Shea) about what had happened during the night. At this point, Shane seems unsure if it was even real. They muse that it may have been a “hant,” or a ghost.

Shane takes Joey to Grafton’s General store. While he’s trying on some new leather boots, he accidentally bumps into a drunk cowboy (Carl Reindel) causing his whiskey to spill. The drunk confronts Shane. Shane is able to beat up the cowboy without having to kill him. And then the same old man from the night before comes in and just looks at every man in the bar. He appears to be searching for someone. He comes up to Shane and says, “You’re Shane.” Shane doesn’t remember the old man, and the old man just turns and leaves.

That night, Marian, unable to sleep walks outside and sees Shane talking to the old man. Shane tells her he’s an old friend that she should go back to bed. Shane invites him into his bunkhouse. That night the old man tells Shane that he killed his son 4 years earlier in Black Falls, CO. He even shows Shane a picture of his son. Shane doesn’t remember him at first. As he looks at the picture, he begins to have short flashbacks of the young man. He’s eventually able to remember the entire exchange with the young man in a saloon in Colorado. He did kill the man, but it was in self defense. He tells the old man that he did kill his son and that he’s sorry. He tells him that it was either his son or him, and that’s the only reason he killed him. Shane then asks the old man what he wants…. I won’t spoil it for you, but the answer was surprising!

Episode 2 is all about Shane being haunted by his past. David Carradine does the heavy lifting as his character tries to come to terms with the fact that he’s killed so many men that he can’t even remember them all. He even considers leaving the Starett ranch because he’s concerned that other people could show up in the future wanting to get vengeance on him. Old man Starett isn’t involved in the action at all in this episode. Marian is mostly there to encourage Shane to not be so hard on himself. There is a scene where he puts a blanket on her when he’s about to leave the ranch for good. She’s sleeping and takes Shane by the hand like she’s touching her husband’s hand. It will be interesting to see how far the series takes their relationship, but that will be for another episode. And Joey is not very involved outside of telling the family about Shane kicking the drunk cowboy’s butt early in the episode. I could hear “Linus” a little bit in his voice since I know that he would be voicing the character that same year in “It’s the Great Pumpkin, Charlie Brown.” That was pretty cool. John Qualen is good in his guest starring role as the old man whose son was killed by Shane in the past. Qualen has been in so many TV shows and movies in his career going back to the early 30’s. He’s a very recognizable actor.

All in all, I thought this was a solid episode. There was some real tension built up at the end of the when Shane is confronted again by that same drunk cowboy, and I was a little surprised by the resolution.

Music Video of the Day: Look Back In Anger by David Bowie (1979, dir by David Mallet)

Posted on January 8, 2025 by Lisa Marie Bowman

Today’s music video of the day comes to us from David Bowie, who would have been 78 years old on this day.

Look Back In Anger has nothing to do with the John Osborne play of the same name but the music video is based on The Picture of Dorian Gray.

Enjoy!

Late Night Retro Television Review: Pacific Blue 1.1 “Pilot”

Posted on January 7, 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 Tuesdays, I will be reviewing Pacific Blue, a cop show that aired from 1996 to 2000 on the USA Network! It’s currently streaming everywhere, though I’m watching it on Tubi.

Last month, we finished up Baywatch Nights. For our next show, we have Pacific Blue, which was often described as being Baywatch On Bikes. Before watching the episode reviewed below, I had only seen one previous episosde of Pacific Blue. I was in Rome and the episode was dubbed into Italian.

As I sit here typing this, it is currently 32 degrees and windy outside. On Thursday, we’re supposed to get hit with ice and snow. Fortunately, on Pacific Blue, it’s forever summer! Let’s dive right in with the first episode!

Episode 1.1 “Pilot”

(Dir by Ralph Hemecker, originally aired on March 2nd, 1996)

Welcome to Santa Monica in the 90s!

The skies are sunny, the ocean is blue, everyone’s wearing a bikini or a swimsuit, and the cops are on bikes!

The pilot for Pacific Blue opens with Officers Victor Del Toro (Marcos A. Ferraez) and Cory McNamara (Paula Trickey) riding their bikes down the boardwalk and talking about how criminals and even citizens often don’t pay them enough respect because they’re on bicycles. And, to be honest, they do look pretty silly riding their bicycles with their grim “I am the Law” facial expressions. Judge Dredd would never be caught dead on a bicycle.

When Victor and Cory catch a couple of graffiti-spraying vandals, they get to show off what they can do with their bicycles. “They can run but we can fly,” Victor says as he takes off after the fleeing vandals. And …. no, sorry. The bikes still look dorky. I don’t care how many bad guys the bike cops capture. The dark shorts and the crisp white t-shirts and the Schwinn bicycles, none of it is intimidating.

Chris Kelly (Darlene Vogel) was once a hotshot Navy pilot until her eyesight dipped below 20/20 and she was discharged. (You have to have 20/20 eyesight to fly a plane? Well, I’ll add that to my list of things that I will never be allowed to do!) Chris joined the Santa Monica police force and found herself assigned to tell kids not to go off with strangers while wearing a milk carton costume. After Chris catches some drug dealers (again, while dressed up like a milk carton), she is transferred out of public relations and over to …. BIKE PATROL!

Her new boss, Tony Palermo (Rick Rossovich), explains that Chris will require three days of bicycle training before she’s officially a member of Bike Patrol. In one montage, Chris learns how to ride a bike like a …. well, I would say like a “badass,” except for the fact that she’s on a dorky Schwinn. She is then partnered up with TC Callaway (Jim Davidson), who orders her to lose the attitude when it comes to riding her bike. No one is too good for bike patrol!

TC’s girlfriend, Sandy (Cindy Ambuehl), thinks TC should get a job working for his wealthy father. TC’s younger brother agrees. But TC loves the beach. He loves chasing criminals. He loves riding his bike! TC was born to work with ocean in the distance and sand getting stuck in the spokes of his bike,

Speaking of criminals, someone has stolen Mayor Mickey Dolenz’s car. (Mickey Dolenz appears as himself.) The Bike Patrol takes down a bunch of car thieves and closes down their chop shop. It’s a standard cop show plot but keep in mind that this is just the first episode. The purpose of a first episode is to introduce all the characters and explain the premise of the show. And that’s what this pilot did so technically, this episode has to be considered a success.

The only problem — and I have a feeling that I’ll be coming back to this point frequently over the next two years or so — is that the Bike Patrol looks incredibly dorky. Pacific Blue was obviously meant to capitalize on the success of Baywatch but the thing with Baywatch is that, as incredibly dumb as that show could be, the slow motion running looked cool. The members of the Bike Patrol riding their bikes up and down the beach just look silly.

That said, the beach scenery was nice to look at and this show does seem like it might have the potential to be fun in a so-bad-it’s-good sort of way. So, we’ll see what happens. By the end of this month, I’ll either be happy that I picked this show to review or I’ll be cursing my terrible judgment. We’ll find out soon enough.