SHANE (The TV Series) – Episode 7: Day of the Hawk (originally aired October 22nd, 1966)


Episode 7 begins with two drunk cowboys, who work for Rufe Ryker (Bert Freed), raising cane and deciding they’ll go harass some sodbusters just for the hell of it. On this day, they ride over to Ira Jackson’s (Jason Wingreen) ranch, where Marian Starett (Jill Ireland) is there visiting Ira’s daughter Elizabeth (Catherine Ferrar). As the cowboys ride around the house, hooping and hollering and shooting off their guns, a frustrated Ira opens the door and fires a blast from his shotgun. The cowboys shoot back toward the house, hitting a kerosene lamp in the kitchen and starting a fire. Ira gets the ladies out of the house and then commences to fighting with the cowboys, who now realize what they’ve done and are wanting to help put out the fire. While the men and Marian are distracted with the fight, Elizabeth runs back into the house to try to save her calico cat, where she is engulfed by the flames and dies. 

We move on to Elizabeth’s funeral and see Shane (David Carradine) ride up with Reverend Harry Himber (James Whitmore). Rufe Ryker is there and he tells Shane and the Reverend that he’s sorry about what happened, that he had nothing to do with it, and that he doesn’t want any trouble. Shane isn’t in much mood to listen to Ryker so he moves on. Reverend Himber, who we will come to find out is a pacifist, begins the service by saying that Elizabeth would want everyone there to remember the good times they had together with her, as well as look inward to find forgiveness and understanding. Hellbent on revenge, Ira just screams “No!”

That night, after chewing his two cowhands out, Ryker decides he’s going to pay them two months wages and send them out of town. He would rather lose a couple of good cowboys as fight a war with Ira. As one of the men, the young Hoke (Dee Pollock), is on his way out of town, Ira shoots him down from the hillside with his rifle. The remainder of the episode consists of Shane and Tom Starett (Tom Tully) trying to protect Ira and the other local farmers from the wrath of Ryker and his men, while Reverend Himber tries to get everyone to talk it out to avoid more killings in the valley. 

In episode 7, the character of Rufe Ryker takes center stage, along with Shane and the visiting Reverend Himber, played here by guest star James Whitmore in an incredible performance. This is probably the deepest episode we’ve dealt with thus far, with each character showing some level of moral complexity. Neither Shane or Ryker want a fight, but they both prepare to get bloody for different reasons. Ryker makes it clear that he will protect his men and fight for them even when they’re wrong. Shane makes it clear that he will fight for the sodbusters against powerful men like Ryker even when he thinks they’re wrong. And then there’s Reverend Himber, the pacifist who is willing to do whatever it takes to stop a fight. During the episode we find out that he had been forced to kill six enemy soldiers when they raided the hospital he was working at during the war. This episode drives home the fact that a man’s ideals will at times contrast harshly with the realities of the positions they find themselves in. Each of these three men finds himself in a situation that has grown bigger than him, with both Ryker and Shane recognizing the deal and preparing for the worst. Reverend Himber, on the other hand, tries to take control of the situation, only to be the catalyst for more tragedy. We have all been in situations where we hope for the best, but we’re smart enough to prepare for the worst, because some of the biggest fools alive are the ones who think they can control other people. 

Overall, the “Day of the Hawk” is a strong episode that has a surprisingly powerful and emotional conclusion. The storyline belongs to Shane, Ryker and the Reverend, so Shane’s relationship with Marian takes a back seat this time around. I don’t think they look at each other longingly a single time, which did make me a little sad. Here’s hoping they’ll double that up in Episode 8! 

Late Night Retro Television Review: Pacific Blue 1.6 “Takedown”


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.

Who cares?  Roll the opening credits.

Episode 1.6 “Takedown”

(Dir by Terrence O’Hara, originally aired on April 6th, 1996)

Three dangerous criminals are holding up stores in …. oh Hell.  Where does this show take place?  I know it’s in California but what’s the name of the town?  Malibu?  Is that it?  Hold on, let me check with Wikipedia….

SANTA MONICA!  That’s where this show takes place.

See, that’s the type of show that Pacific Blue is.  I am now six episodes into this show and I’m still can’t tell you where it specifically takes place.  It’s not that they haven’t mentioned that the show is set in Santa Monica.  And considering that I even attended Saint Monica School for a semester, you would think that I would be able to remember it.  But Pacific Blue is such a generic show that it’s difficult to really remember a thing about it.  It fades from your memory within seconds of being watched.  About the only thing that really sticks with the viewer about this show is how stupid everyone looks on their bicycles with their tight white shirts and their blue shorts.  The fact that Rick Rossovich plays their leader with a perpetual air of grim determination only serves to make them seem even more ridiculous.  Cops are supposed to look intimidating.  That’s one reason why a lot of people don’t like them.  These cops just look like the type of douchebags you dread getting stuck behind in traffic.

As for this episode, three dangerous criminals are holding up stores in Santa Monica.  Somehow, they always manage to escape right before the cops show up.  Maybe that’s because the cops are all on bicycles and they have to steer across crowded sidewalks without even having the benefit of a siren to tell people to get out of the way.  What’s odd is that no one ever seems to notice the criminals until they pull out their guns.  These are three extremely scruffy criminals, all of whom are clad in clothes that don’t appear to have been washed in days.  Are you seriously telling me no one would notice that on the beach in San Diego or wherever this freaking show takes place?

If I was a store owner who got robbed at gunsight and who then called the police, nothing would piss me off more than having the bicycle cops respond.  Seriously, you need a car to chase criminals!  All the criminals have to do is wait for the bike cops to pull a muscle or ride over a stick in the middle of the road and then they’ll be home free.  If I get robbed, give me the real cops!

TC gets upset when one of the criminals points a gun at him.  Lt. Palermo encourages him to stop being stoic and get in touch with his feelings and …. oh, who cares?  Freaking bicycle cops.  While that’s going on, Chris takes a creative writing class and dates her professor (Zach Galligan).  From what we hear of Chris’s literary efforts, she has no talent whatsoever.  She was such a bad writer that I literally got angry while she reading her story.  I wanted the professor to throw something at her.  Also, Victor del Toro falls in love with a model (Krista Allen) and even gets a date with her, despite his dumbass bicycle.

Where does this show take place again?  Malibu?

Anyway, this was just another episode about the most useless cops ever.

Retro Television Review: Fantasy Island 6.5 “Everybody Goes to Gilley’s/Face of Fire”


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.

This week, Fantasy Island goes country.

Episode 6.5 “Everybody Goes to Gilley’s/Face of Fire”

(Dir by Jerome Courtland, originally aired on November 20th, 1982)

Mickey Gilley is a country-western singer who comes to Fantasy Island because he wants to finally become a star after years of struggling.  Tattoo, who is a huge country music fan, puts on a cowboy hat and decides that he’ll be Gilley’s “exclusive manager.”  Not so fast, Mr. Roarke says.  Apparently, there’s a country-western bar on the other side of the Island and the owner, Mr. Sherwood (Dennis Cole), has a fantasy of finally having a successful bar.  Roarke arranges for Gilley and Sherwood to become partners.  Gilley is a star whenever he performs in Sherwood’s bar.  In the end, Sherwood and Gilley leave the Island together with Sherwood as Gilley’s new manager.

I’m not a huge country music fan so I have to admit that, until I watched this episode, I had no idea who Mickey Gilley was. (In fact, in my first draft of this review, I repeatedly called him “Dennis Gilley,” so that tells you how much I know about county-western singers.)  Gilley actually was a country music star, one who did spend several years toiling away in small clubs before he finally found success.  This role was autobiographical for him.  It’s a bit odd that he plays himself but maybe he was a big deal in 1982.  As I said, country music is not my area of expertise and 1982 is a bit before my time.  What I can say is that, on the show, Gilley was portrayed in a way that kind of made him seem like a jerk.  I mean, the nonstop complaining and all the demands!  “I’m not here for romance,” he tells Roarke at one point.  Don’t tell Mr. Roarke how to do his job, Gilley!

The other storyline was a take on Jane Eyre.  Jean Harrigan (Lynn Redgrave) is from Nevada, despite being totally English.  She needs a million dollars.  A mysterious rich guy (David Hedison) offers it to her if she can survive a weekend at his home.  His crazy wife is locked away in a bedroom.  She ends up catching on fire towards the end of the episode, freeing things up for Jean and the rich guy.  What’s interesting is that the rich guy says that he originally met Jean when his car broke down in the Nevada desert and Jean gave him a ride.  What’s interesting about this is that, when the legendary Howard Hughes died, a man named Melvin Dummar claimed that he had once given Hughes a ride after coming across him stranded in the Nevada desert and, in return, Hughes left him a good deal of his fortune.  Dummar even produced a will in support of his claim.  The courts ruled the will to have been a forgery and Dummar never received his money, though there still are people out there who defend “the Dummar will” and claims that he was telling the truth about meeting Hughes.  Fortunately, Jean does get her money and a chance to spend some time with the totally charming and handsome David Hedison.

(Hedison was also the best Felix Leiter, appearing in Live and Let Die and License to Kill.)

Perhaps not surprisingly, I preferred the gothic story to the country music story.  I appreciated that Tattoo got to do something this episode.  The scene where he declares himself to be Gilley’s manager felt like a throwback to the show’s earlier seasons.  This journey to the Island was a mixed bag for me, though overall it was a pleasant trip.

Late Night Retro Television Review: CHiPs 3.8 “Hot Wheels”


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!

Last night’s review of CHiPs was pre-empted by a sudden storm.  Here it is now, in its entirety,

Episode 3.8 “Hot Wheels”

(Dir by John Florea, originally aired on November 3rd, 1979)

Ponch is still in the hospital, recovering from last week’s accident.  Still, because he’s Ponch, he’s the one who figures out that a bunch of disgruntled fireman are using city trucks to commit their jewelry thefts.  Hey, wait a minute.  Last week’s episode was also about jewelry thefts.  Admittedly, CHiPs was a show that tended to recycle plots but, even by CHiPs standards, this is one of those coincidences that leaves you wondering what exactly was going on in the writer’s room.

Actually, it’s easy to guess.  Erik Estrada really was injured while filming an episode.  The cast that he wears throughout this episode was real and, as easy as it can be to make fun of his overexpressive acting and his tendency to lose his shirt every other scene, you do have to respect that Estrada showed to film this episode at all.  With Estrada injured, one gets the feeling that this episode, just like last week’s, was quickly rewritten to cover the situation.

Baker gets a temporary partner in this episode.  It’s the return of his former motorcycle mate, John Clayton!  Clayton was apparently Baker’s partner before Ponch.  Clayton has a reputation for being a practical joker,  It’s all anyone can talk about.  Clayton is a legendary prankster!  They really want us to know that Clayton’s a fun guy before he shows up and we discover that he’s played by Andrew Robinson, the actor who is best-known for playing the Scorpio Killer in Dirty Harry.  Robinson wears a mustache as Clayton, probably in an attempt to keep 1979 audiences from looking at the screen and going, “Hey, I remember that guy hijacking a school bus!”

(I should mention that Andrew Robinson himself was a committed pacifist when he filmed Dirty Harry, to the extent that he actually flinched whenever he had to shoot the killer’s gun and he actually traumatized himself while filming the school bus hijack.  He actually sounds like a pretty nice guy who just happened to play one of the most loathsome screen villains of all time.)

Baker works with Clayton and it must be said that Larry Wilcox does seem to be noticeably happier when he’s acting opposite Robinson than he ever did when he was acting opposite Estrada.  The episode features Clayton performing a heroic and dangerous rescue at one point and it’s easy to see that that scene was originally conceived with Estrada in mind.  It’s also easy to imagine Estrada flashing his big grin at the end of the scene while Robinson, on the other hand, plays up the fact that anyone, even a dedicated cop, would be absolutely exhausted after all that.

Robinson does a good job as Clayton and it’s always fun to see Martin Kove play a villain on show like this.  This was a good episode.  Estrada, I assume, will be back on his bike next week.

Retro Television Review: Miami Vice 3.17 “The Afternoon Plane”


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, Tubbs has an adventure!

Episode 3.17 “The Afternoon Plane”

(Dir by David Jackson, originally aired on February 20th, 1987)

While attending a New Age-y wedding with his latest girlfriend Alicia (Maria McDonald), Tubbs wins a vacation to a tropical island!

It’s about time something …. well, I was going to say something good but honestly, I guess we should just be happy that anything is happening to Tubbs at all.  When this show started, Tubbs was the audience surrogate.  He was the one who came down to Miami and learned about the drug scene.  We saw Miami through his eyes.  But, by the time the third season rolled around, it was pretty clear that Miami Vice hard largely become the Crockett show.  Don Johnson was the star and Philip Michael Thomas often seemed like a supporting character.  Tubbs may have been cooler than Switek but, often times, both of them took a backseat to Crockett.  This week, however, Tubbs finally get his own episode.  Crockett shows up for a few minutes at the start of the episode and that’s it.  This is the Tubbs show!

Of course, it turns out that the vacation does not go the way that Tubbs was expecting.  He runs into a drug dealer named Leon Wolf (Vincent D’Onofrio, making his television acting debut), someone who Tubbs previously put in jail.  Tubbs soon discovers that his old enemies, the Calderone family, are on the Island and they’re looking forward to getting their revenge on Tubbs.  Tubbs, of course, has no legal jurisdiction on the island and the local police certainly aren’t going to help him out.  In fact, many people on the island resent Tubbs because they blame America’s war on drugs for their poverty.  Drug smuggling is big business and it provides an income to a lot of people who would starve otherwise.

Orlando Calderone (John Leguizamo) is coming on the next afternoon plane and no one is willing to defy Orlando by helping Tubbs get off the island.  The episode becomes a Caribbean High Noon, with the clock ticking down and no one willing to stand up and help the endangered law man.  There are some on the island who want to fight back and drive away the Calderones.  But no one is willing to take the chance.

It would have been a lot more compelling if Orlando had been played by someone other than John Leguizamo, who is just as cartoonishly unconvincing here as he was the first time that he appeared on the show.  I know that Miami Vice was early in Leguizamo’s career but his performance here is so unconvincing that it really does make the Calderones just seem like a bunch of low-level punks instead of a feared criminal syndicate.  The final gun battle between Tubbs and the Calderones is handled well-enough but it’s never quite as compelling as it would be if Orlando Calderone was actually an intimidating villain.  In typical Miami Vice fashion, Alicia is seriously wounded in the battle.  It pays not to get involved with either Tubbs or Crockett.

This episode was a slight change of pace.  Apparently, everyone but Philip Michael Thomas got to take some time off during filming and, as a result, Thomas gets to show his own unique style as Rico Tubbs.  Still, this episode was never as compelling as it needed to be.  Hopefully, we are now done with the Calderones.

The 2025 Super Bowl: Some Commercial Thoughts


In previous years, after the Super Bowl, I’ve listed my favorite ads of the night.  I’m not going to do that this year because, quite frankly, I don’t have enough ads to list.  This year, the Super Bowl was boring.  The game was boring and the ads were boring.  There were barely any new movie trailers.  In previous years, Leonard and I exhausted ourselves trying to keep up with and share all of the Super Bowl movie spots.  This year, we could take things easy.

As for the game …. listen, I’m not a football person.  Our longtime readers know that.  Usually, when I’m bored with a football game, I assume it’s because I’m just not into football.  But this year, the game was so slow that even my colleagues here at TSL got bored with it.  While the biggest game of the year was being played in New Orleans, we largely used the game as background noise as we talked about everything from HBO’s True Detective to whether or not it was acceptable to nuke all of your enemies in Civ.  Once I realized that there weren’t going to be any big commercials, I immediately started thinking about relaxing in a hot tub for an hour or two.  It turned out to be a little less than an hour because it’s cold outside, folks!

What a disappointing game.  I can’t believe that I actually pre-empted my retro television reviews for that thing.  Oh well!  Live and learn.

Actually, now that I think about it, there was one commercial that I really liked, just because it featured a horse.

I’ve seen some speculation online that the commercials were safe and predictable this year because ad agencies are still adjusting to how to advertise in the second Trump era.  That’s possible.  It’s been a long time since I’ve seen Super Bowl commercials that were so determinedly nonpartisan.  In the past, I think the general assumption that advertisers made was that the country was full of politically active young people with a lot of spending money and, as a result, it only made sense to tailor commercials to them.  Hence, we got Zachary Quinto dramatically reading the ending of 1984 for Amazon Audible and Kylie Jenner defusing tensions at a protest by giving a Pepsi to a cop.  We got a commercial for a migraine medicine in which the main character was able to go to a protest because her migraine cleared up.  There was even a commercial featuring a teenage girl leading an environmental rally because she had the confidence that went along with having clear skin.  All the online complaining was taken as a badge of honor.  “We’re making the right people mad,” as the saying goes.  But, with the recent elections, it’s now kind of obvious that the supposedly leftward tilt of the country was much overestimated.  It felt like the ads this year were trying to reclaim the middle, nonpartisan ground that was originally abandoned in 2017.  They did so by playing everything safe.  As a result, none of the commercials this year were controversial but, at the same time, none of them were particularly interesting either.  It says something about how bland things were that the most talked about commercial was another one of those flaky “He Gets Us” commercials, which feel like almost a parody of the shallow understanding most people have of theology.

(Incidentally, we watched the game on Tubi.  Tubi did a very good job of streaming the game, with none of the trouble that Netflix has had with its live events.)

In other words, the Super Bowl was boring this year but I did enjoy watching it with my TSL colleagues.  And I love horses!  And now, on with the rest of 2025!

Lisa Marie’s Week In Television: 2/2/25 — 2/8/25


Here’s a few thoughts on what I watched this week.

Abbott Elementary (Wednesday Night, ABC)

I’m one episode behind as far as Abbott goes.  This week, I watched the golf course episode but I still need to watch the science fair episode.  I’ll do it tomorrow before the Super Bowl.  As always, the episode made me laugh.  The show has done marginally better with the gentrification subplot than it did with the charter school storyline a few seasons ago.

Dark (Netflix)

Case and I continuing to watch this creepy German show.  This is the only show I’ve ever seen that’s actually held my attention while the characters discuss physics.

Hell’s Kitchen (Fox, Thursday Night)

And we have a winner!  Kyle’s door open and he is the latest chef to win a season of Hell’s Kitchen.  I did like Kyle but I have to admit that I lost interest in this season after both Brandon and Egypt were eliminated.  I still can’t see Kyle as a head chef.  Brandon had a bad night and Egypt lost an arbitrary contest but I still feel like either one of them would have been a better winner.  That said, anyone who has ever tasted my cooking knows that I wouldn’t have even made it past the first 10 minutes of the first episode of Hell’s Kitchen.  Congratulations to Kyle on his victory and on proving people like me, who were pretty dismissive of his chances at first, wrong.

King of the Hill (Hulu)

I watched the episode where Bill’s touchdown record was broken and, with Hank’s encouragement, Bill rejoined the high school team in an effort to win it back.  “You the man, Bill …. don’t look down at your leg.”

Kitchen Nightmares (Fox, Tuesday Night)

Chef Ramsay was, again, in New Orleans this week.  The New Orleans shows have been kind of boring.  None of the restaurants have really been that appealing, either before or after their makeover.  You have to wonder how many times Chef Ramsay is going to have to invite an ex-football player to come and convince people to do their job.  It’s kind of funny how the only thing many of these restaurants really need is for a former member of the Saints to show up for five minutes.

After being bored with the trip to New Orleans, I hopped on Tubi and revisited the Amy’s Baking Company episodes from seasons 6 and 7.  Now that was classic Ramsay chaos!  I like it when Chef Ramsay is nice to the chefs on Hell’s Kitchen but, when it comes to Kitchen Nightmares, I just want him to rip the place apart!

Scamanda (Hulu)

On Wednesday, I watched the first episode of this NBC docuseries about a woman who pretended to have cancer and who swindled a lot of people out of a lot of money.  It was an interesting episode.  People pretending to be sick to get money from people is hardly a new phenomena but it was interesting to see not only how far Amanda took it but also how gullible people really were.  (They really wanted to believe.)  The film did have a few regrettable reenactments, including a truly risible one of a bunch of churchgoers literally throwing money at Amanda’s feet.  Still, it’s an interesting story.

Watched and reviewed:

  1. CHiPs
  2. Fantasy Island
  3. Friday the 13th: The Series
  4. Highway to Heaven
  5. The Love Boat
  6. Malibu CA
  7. Miami Vice
  8. Monsters
  9. Pacific Blue
  10. St. Elsewhere

Late Night Retro Television Review: Friday the 13th: The Series 3.1 and 3.2 “The Prophecies”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing Friday the 13th: The Series, a show which ran in syndication from 1987 to 1990. The entire series can be found on YouTube!

This week, we start season 3!

Episode 3.1 and 3.2 “The Prophecies”

(Dir by Tom McLoughlin, originally aired on October 7th, 1989)

The third season starts with a 90-minute episode, one that was split into two parts when the show was later re-aired.  It’s a rather strange episode, one that takes the Curious Goods crew far from Canada and one that also see Ryan transformed into a…. well, we’ll get to that.

When the episode starts, Ryan is in a state of shock because he recently ran into his mother (Jill Frappier) while visiting the grave of his brother.  His mother walked out on Ryan and his father after the death of Ryan’s brother and the reunion between the two leaves Ryan feeling conflicted.  As he blames himself for both the death of his brother and his father, he can’t help but wonder what he would do if he had the opportunity to do everything over again.

Meanwhile, Micki is running the antique store with none other than Johnny Ventura.  Last season, Micki disliked Johnny and she had ever right to as Johnny tended to be a little bit stalker-ish in his behavior towards her.  But, with the start of this season, it appears that all has been forgiven.

As for Jack, he’s in a small town in France.  He received a letter from Sister Adele (Marie-France Lambert) telling him about some apocalyptic visions that she’s been having.  Those visions are largely the result of fallen angel Asteroth (Fritz Weaver), who is determined to bring the AntiChrist into the world by following the step laid out in the Books of Lucifer.  He has to kill a nun and he’s decided that Adele is that nun.  However, Asteroth cannot get to her.

But then Jack gets shoved down a flight of stairs and ends up in the hospital.  Ryan, Micki, and Johnny fly over to France.  Ryan is promptly possessed by the Devil and he murders Sister Adele!  But now, for some reason, Asteroth also needs to murder a young girl who seems to know Ryan and whose presence in the episode is never really explained.  In order to free Ryan from being possessed, it’s necessary to transform him back into a small child.  Eventually, God gets tired of all this and Asteroth bursts into flame.

The ending is a bit ambiguous about what this all means but I do know that this was John D. LeMay’s last episode and that Johnny Ventura will become a series regular as well.  (Steven Monarque, who played Johnny, is still listed as a guest star in this episode.)  So, I guess Ryan, who no longer has any memory of Micki or any of his Curious Goods adventures, is going to go live with his mother and grow up again and I’d love to know how Jack and Micki are going to explain that to his mom.

This was a weird way to write Ryan out of the show.  (If anything, Ryan sacrificing himself to save Micki and/or Jack would have made much more sense and been just as powerful an ending.)  But, with all that mind, this was still a good episode.  While the episode did not film in France, it does feature some location work in Quebec and those scenes are full of ominous atmosphere.  Fritz Weaver was an appropriately creepy Asteroth.  Speaking of being creepy, John D. LeMay did a great job playing possessed Ryan.  This episode was not always easy to follow but it was scary and atmospheric and it worked surprisingly well.

Bye, Ryan!  I’ll miss you.

Retro Television Review: St. Elsewhere 1.11 “Graveyard”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988.  The show can be found on Hulu and, for purchase, on Prime!

This week, a handful of doctors save two patients and lose one.

Episode 1.11 “Graveyard”

(Dir by Victor Lobl, originally aired on January 18th, 1983)

It’s the graveyard shift at St. Eligius.  The halls and the cafeteria are dark.  The ER is oddly calm.  There are only a few patients to be looked after and most of the doctors are playing poker and talking about the rather boring subject of Dr. Samuels’s love life.

Only a handful of the series regulars make an appearance in this episode but that’s fine.  This episode actually provides a nice break from having to keep track of where everyone is.  Unfortunately, as I already said, a lot of this episode is centered around the character of Dr. Samuels.  Nothing against the late David Birney, who did a perfectly acceptable job in the role, but Dr. Ben Samuels is just not that interesting of a character.  He’s a dedicated surgeon who feels too much, drinks too much, and wants to sleep with his colleagues.  That’s fine but I grew up watching General Hospital.  I’ve seen a hundred doctors just like Samuels on television.

To me, the far more interesting characters are the people like David Morse’s Jack Morrison or Ed Begley, Jr’s Victor Ehrlich or even Terence Knox’s Peter White.  They’re doctors who screw up and aren’t always brilliant and sometimes say the wrong things.  They feel like real people whereas Dr. Samuels just feels like a cliche, a holdover from some other medical show.  Samuels is not a particularly compelling character and, when I did some research, I was not surprised to discover that David Birney only appeared on one season of the show.

G.W. Bailey’s Hugh Beale also only appeared in the first season and that’s a shame because Bailey’s performance as Beale has been one of the first season’s real pleasures.  Bailey plays Beale as a compassionate man who often pretends to be more naive than he is.  As a Southerner, he’s an outsider on this Boston-set show and, being an outsider, he can often relate to the patients in the psych ward.  Of course, that still doesn’t stop Dr. Beale’s main patient, Ralph the Birdman, from throwing himself off the roof of the hospital in this episode.  To be honest, I already suspected things weren’t going to go well for Ralph on this show but his suicidal jump still upset me.  As annoying as the character was, he was also finally making some progress.  He finally admitted he wasn’t a bird.  And then he proved it by showing that he couldn’t fly.

While Ralph plunged to his death, Dr. Samuels saved a gunshot victim (played by Tom Hulce).  And Jack allowed the father (James Hong) of one of his comatose patients to perform a Chinese ritual that led to the patient waking up and eventually walking into the cafeteria, where the doctors were playing poker.  “Who ordered the Chinese?” Fiscus asked and …. ugh.  Not cool, Fiscus.

It was a night of triumph and tragedy.  Ralph died but Dr. Samuels and Dr. Paxton agreed to give their relationship another try which …. eh.  I don’t care about Samuels and Paxton.  For the most part, though, I liked this episode.  The smaller cast made it easier to keep track of things and the poker game banter reminded me that the doctors are all people too.  Still, I have to feel bad for Ralph.  All he wanted to do was fly.

Late Night Retro Television Review: Highway to Heaven 3.12 “Oh Lucky Man!”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Thursdays, I will be reviewing Highway to Heaven, which aired on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi and several other services!

It’s time to work at another youth center!

Episode 3.12 “Oh Lucky Man!”

(Dir by Dan Gordon, originally aired on December 10th, 1986)

Jonathan and Mark are working at a youth center …. again!

Don’t get me wrong.  There’s nothing wrong with Jonathan and Mark working at a youth center.  From what I’ve seen of this show, Michael Landon seemed to have a natural rapport with kids and Victor French’s grouchiness was always put to good use whenever he had to deal with someone younger.  It’s just hard not to notice that Jonathan and Mark seemed to go to several youth centers each episode and they almost always dealt with exact same issue.  Some kid is angry or insecure.  He may not have a father in his life.  Jonathan helps the kid admit his anger and learn to trust whoever wanted to adopt him.  Usually, this seemed to involve helping the kid find the courage to play a sport or something similar.

In this episode, the youth center is run by an ex-con named Jake (Thalmus Rasulal).  Mark was the one who arrested Jake and sent him to prison but Jake so impressed Mark with how he turned his life around that Mark ended up testifying in favor of giving Jake parole.  Jake opened up a youth center to “keep the kids out of the gangs.”  And again, there’s nothing wrong with that.  I admire anyone who comes out of prison and attempts to do something good for their community.  One of the truly shameful things about our justice system is that it’s been forgotten that prison is meant to rehabilitate.  We focus so much on punishment that we end up forgetting that we’re supposed to be a nation built on second chances.  Jake has made something out of himself and now, he’s giving back.

(And yes, that is your When Did Lisa Marie Become A Bleeding Heart? moment of the week,)

The problem is that his youth center desperately needs money.  It looks like everything is going to be alright when Mark wins $5,000,000 while taking the kids out for lunch.  Mark plans to give the money to the youth center.  He also plans to be there for a troubled kid named Brady (Ian Michael Giatti).  But when Mark is approached by Nina Van Slyke (Shannon Tweed), those plans change.  Nina claims to be the head of a charity and she convinces Mark that her charity could do a lot more good with the money than the youth center.  Mark finds himself falling in love with Nina and he even tells Jonathan that they’re partnership might be over.  However, Nina is actually a con artist who just wants to take Mark’s money for herself.

Will Mark see the error of his ways?  Of course!  And he’ll apologize to Brady for missing Brady’s big game and he’ll keep the youth center open by giving the money to Jake.  This is Highway to Heaven.  There’s not a cynical note to be found in this show.

That said, this episode was a bit uneven with the soap opera-like scenes of Nina and her partner (Roy Thinnes) plotting to cheat Mark never gelling with the more earnest scenes of Jonathan helping out at the youth center.  As always, this episode was well-intentioned and about as sincere as you can get.  The strength of this show is that it’s so sincere.  But Shannon Tweed felt like she was acting in a totally different show from Highway to Heaven.  As a result, this episode never quite came together as a cohesive unit.

Oh well.  At least Brady’s going to get a family!