Late Night Retro Television Review: 1st & Ten 3.6 “The Bulls Change Hands”

Posted on March 4, 2026 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 1st and Ten, which aired in syndication from 1984 to 1991. The entire series is streaming on Tubi.

This episode was confusing. Is syndication to blame?

Episode 3.6 “The Bulls Change Hands”

(Dir by Stan Lathan, originally aired on September 9th, 1987)

Diana no longer owns the Bulls!

That was the main plot development to be found in this cluttered episode of 1st & Ten. As I’ve mentioned before, the episodes of 1st & Ten that are available on Tubi are the heavily edited versions that were sold into syndication as opposed to the original, R-rated versions that appeared on HBO. With quite a few of these episodes, it’s obvious that entire plotlines have been pretty much chopped out. That certainly feels like the case here because, despite having watched the episode, I’m still not totally sure how Diane lost the Bulls in the first place.

What I do know is that she threatened to expose Teddy’s insider trading. Teddy responded by leaving the country but, before he left, he gave his ownership shares to his daughter, Jill (Leah Ayres). Teddy explains that this makes Jill the owner of the Bulls. But my understanding was that Teddy only owned half the team so it seems like that would mean Jill and Diane would now be co-owners. Perhaps I missed something in an earlier episode or maybe some line of dialogue was cut out for syndication, I’m not sure. What I do know is that Jill now owns the Bulls. The first thing she does is break up with Yinessa because she can’t be both his boss and his girlfriend.

In her final locker room speech, Diane orders the Bulls to win because Diane is taking Jill to court and she wants the team to be in the playoffs once she returns as the owner. It’s not a bad speech but again, I thought Diane still owned at least half of the team.

Meanwhile, Yinessa is back as quarterback. And he leads the Bulls to their first victory of the season. His new wide receiver, Billy Cooper (Michael Toland) catches the game-winning pass. At the same time that Billy is scoring, some guy who we’ve never seen before is shooting at him from the roof of the stadium. The police arrest the guy and Billy later discovers a bullet lodged in his helmet.

Bubba’s sex therapist (Penny Johnson) is now obsessed with him, despite Bubba’s attempts to set her up with with Jethro. I have a feeling that the Jethro/Bubba storylines were the ones that really got left on the cutting room floor when it came to editing these episodes for syndication. Jethro and Bubba have been with the show since the beginning and they’ve got prominent billing in the opening credits but, when it comes to their roles in the episodes themselves, it seems like the only thing that happens is Bubba says that he needs to get laid and then the two of them disappear for several weeks. When they do finally reappear, Bubba is always in some sort of new trouble with his wife.

Speaking of marriage, in this episode, TD Parker finally confesses to his wife that he’s been having an affair.

TD apologizes. His wife tells him to get out. Agck! I can see where this storyline is heading but OJ Simpson fighting with his wife still lands differently in 2026 than it probably did in 1987.

This episode was a mess but I guess Jill is the owner of the Bulls now and Teddy’s fled to South America. Can’t the Bull just concentrate on playing football and earning their paycheck?

Late Night Retro Television Review: CHiPs 4.11 “11-99: Officer Needs Help”

Posted on September 1, 2025 by Lisa Marie Bowman

Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983. The entire show is currently streaming on Prime!

This week, Ponch fixes everything.

Episode 4.11 “11-99: Officer Need Help”

(Dir by Phil Bondelli, originally aired on January 18th, 1981)

Three criminals are stealing trucks from a trucking company. One of the criminals works for the company but he gets fired, not for his thievery but because he accidentally put a cate of corrosive chemicals on the wrong truck. Now, the highway patrol has to track down the chemicals and also stop the criminals.

It’s a typical episode of CHiPs. A man loses his job after he’s wrongly accused of being the thief. The man’s son (Greg Bradford) helps Jon and Ponch catch the real criminals. There’s a subplot about all of the members of the high patrol carrying a new device that sends out of a signal whenever an officer’s down. Grossman accidentally pushes the button while chasing a lost dog. The emphasis here is on everyone working together and the Highway Patrol going out of their way to always have the best equipment to do their job. In the end, this is such a typical episode that the whole thing is kind of boring.

Really, for me, the only interesting thing about this episode is that it featured a subplot about a new police dispatcher who spoke with a stammer and who had trouble sending out instructions over the radio. I had a lot of sympathy for Kathie Lark (Katherine Moffat) because I had a pretty pronounced stammer up until I was about twelve years old. (It now only comes out if I’m extremely tired or stressed.) That said, considering just how important the dispatchers are when it comes to the Highway Patrol, I was a bit surprised that Kathie got the job in the first place. Kathie mentioned that she had previously been a dispatcher in a small town and again, I wondered how she got that job. To me, it seemed like the Highway Patrol was basically setting Kathie up for failure.

The good thing is that eventually someone gives Kathie some advice that helps her to overcome her nervousness and become an excellent dispatcher. Do you want to guess who gave her the advice? Seriously, I dare you to guess who, out of the show’s cast of characters, magically knew exactly the right thing to say to help Kathie out. If you’re thinking that Ponch was responsible for Kathie becoming a badass on the airwaves, you are exactly right! Is there no problem that Ponch can’t solve? Ponch’s advice, by the way, was that Kathie should always imagine that she was speaking directly to him. The next time that I find myself tripping over a word that starts with B, I’ll try the same thing.

It’s the Ponch Show! Seriously, there’s nothing that Ponch can’t do! Beyond that, this was a boring episode. The California scenery was nice to look at but otherwise, this episode felt like CHiPs on autopilot.

Retro Television Review: Mary Jane Harper Cried Last Night (dir by Allen Reisner)

Posted on May 12, 2024 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 the made-for-television movies that used to be a primetime mainstay. Today’s film is 1977’s Mary Jane Harper Cried Last Night! It can be viewed on YouTube.

Damn.

I mean, seriously! I have seen some depressing films before but nothing could have quite prepared me for Mary Jane Harper Cried Last Night.

Susan Dey stars as Rowena, a young single mother whose 3 year-old daughter, Mary Jane Harper (Natasha Ryan), is taken to the hospital with a broken arm. Dr. Angela Buccieri (Tricia O’Neil) doesn’t believe Rowena’s claim that Mary Jane is just accident prone and when she discovers what appears to be cigarette burns on the little girl, Dr. Buccieri goes to the head of pediatrics (played by veteran screen villain John Vernon) and requests a full set of X-rays to see if there are any previously healed injuries. Buccieri’s request is denied. It turns out that Rowena comes from a wealthy family and her father (Kevin McCarthy) is a trustee of the hospital. Even after Dr. Buccieri opens up about her own experiences as an abused child, she is told to drop the matter.

She doesn’t drop it. Instead, she goes to a social worker named Dave Williams (Bernie Casey). Dave does his own investigation but none of Rowena’s neighbors want to talk about all of the crying and the screaming that they hear coming from Rowena’s apartment. Rowena presents herself as being a stressed but loving mother. Dave suggests a support group that she can attend. When Rowena goes to the group, she opens up a little about how overwhelmed she feels. Unfortunately, she leaves Mary Jane in the apartment alone and, when a fire breaks out, Mary Jane is lucky to survive.

As intense as all of that is, it’s also only the first half of the movie. The second half is even more intense and emotionally draining and it all leads up to one of the most devastating final lines ever uttered in a movie. Throughout the film, the system fails both Rowena and Mary Jane. Mary Jane is failed when all of the evidence of the abuse that she has suffered is either ignored or shrugged away by the same people who are supposed to be looking out for her. Rowena is failed when no one pays attention to her obvious emotional instability. When she finally does have a breakthrough during a therapy session, her psychiatrist (played by James Karen) curtly tells her that they’ll have to talk about it next week because their hour is up.

Rowena is a character who I both hated and pitied. Like many abusers, she herself was a victim of abuse. Even when Rowena tries to get support, no one wants to admit that a mother is capable of abusing their own child. That said, Mary Jane Harper is at the center of the film. She’s a little girl who is desperate to be loved by a woman who often terrifies her. She is continually failed by the people who should be looking after her and it’s just devastating to watch. I’m sure I’m not the only person who was moved to tears by this film.

What a sad film. At the same time, it’s also an important one. If the film takes place at a time when no one wanted to admit to the abuse happening before their eyes, we now live in a time when people toss around allegations of abuse so casually that it’s led to a certain cynicism about the whole thing. Even when seen today, Mary Jane Harper Cried Last Night works as a powerful plea to watch out and care for one another.

Boobs, Music, and Sci-Fi: Heavy Metal (1981, directed by Gerald Potterton)

Posted on December 15, 2015 by Jedadiah Leland

I think I was twelve when I first saw Heavy Metal. It came on HBO one night and I loved it. So did all of my friends. Can you blame us? It had everything that a twelve year-old boy (especially a 12 year-old boy who was more than a little on the nerdy side) could want out of a movie: boobs, loud music, and sci-fi violence. It was a tour of our secret fantasies. The fact that it was animated made it all the better. Animated films were not supposed to feature stuff like this. When my friends and I watched Heavy Metal, we felt like we were getting away with something.

Based on stories from the adults-only Heavy Metal Magazine, Heavy Metal was divided into 8 separate segments:

Soft Landing (directed by Jimmy T. Murakami and John Bruno, written by Dan O’Bannon)

Heavy Metal opens brilliantly with a Corvette being released from a space shuttle and then flying down to Earth, surviving reentry without a scratch. Who, after watching this, has not wanted a Space Corvette of his very own?

Grimaldi (directed by Harold Whitaker)

On Earth, a terrified young girl listens a glowing green meteorite called the Loc-Nar tells her that it is the source of all evil in the universe. This sets up the rest of the film, which is made up of stories that the Loc-Nar tells about its influence. The Loc-Nar is the film’s MacGuffin and, seen today, one of Heavy Metal’s biggest problems is that it has to find a way to force the Loc-Nar into every story, even if it meant sacrificing any sort of consistency about what the Loc-Nar was capable of doing. Even when I was twelve, I realized that the Loc-Nar was not really that important.

Harry Canyon (directed by Pino Van Lamsweerde, written by Daniel Goldberg)

In this neo-noir tale, futuristic cabby Harry Canyon (voiced by Richard Romanus) is enlisted to help an unnamed girl (voiced by Susan Roman) to find the Loc-Nar. Slow and predictable, Harry Canyon does feature the voice of John Candy as a police sergeant who attempts to charge Harry for police work.

Den (directed by Jack Stokes, written by Richard Corben)

Nerdy teenager David (voiced by John Candy) finds a piece of the Loc-Nar and is transported to the world of Neverwhere, where he is transformed into Den, a muscular, bald warrior. As Den, David gets to live out the fantasies of Heavy Metal‘s target audience. On his new planet, Den rescues an Earth woman from being sacrificed, overthrows an evil queen and a sorcerer, and gets laid. A lot. Den is the best segment in Heavy Metal, largely because of the endearing contrast between the action onscreen and John Candy’s enthusiastic narration.

Captain Sternn (directed by Paul Sebella and Julian Harris, written by Bernie Wrightson)

heavy-metal_captain-stern On a space station orbiting the Earth, Captain Lincoln F. Sternn is on trail for a countless number of offenses. Though guilty, Captain Sternn expects to be acquitted because he has bribed the prosecution’s star witness, Hanover Fiste. However, Hanover is holding the Loc-Nar in his hand and it causes him to tell the truth about Captain Sternn and eventually turn into a bloodthirsty giant. Captain Sternn saves the day by tricking Hanover into getting sucked out of an air lock.

Captain Sternn was a reoccurring character in Heavy Metal Magazine and his segment is one of the best. Eugene Levy voices Captain Sternn while Joe Flaherty voices his lawyer and Dean Wormer himself, John Vernon, is the prosecutor. Even National Lampoon co-founder Douglas Kenney provided a voice.

B-17 (directed by Barrie Nelson, written by Dan O’Bannon)

After the Loc-Nar enters Earth’s atmosphere, it crashes into a bullet-riddled World War II bomber, causing the dead crewmen within to reanimate as zombies. Scored to Don Felder’s Heavy Metal (Takin’ a Ride), B-17 is one of the shorter segments and its dark and moody animation holds up extremely well.

So Beautiful and So Dangerous (directed by John Halas, written by Angus McKie)

Nubile Pentagon secretary Gloria is beamed aboard a spaceship that looks like a giant smiley face. While she has sex with the ship’s robot captain, the two crew members (voiced by Harold Ramis and Eugene Levy) pour out a long line of cocaine and shout “Nosedive!” before snorting up every flake. So Beautiful and So Dangerous is so juvenile and so ridiculous that it is actually all kinds of awesome.

Taarna

Sacrificed In the film’s final and most famous segment, Taarna, the blond warrior was featured on Heavy Metal‘s poster, rides a pterodactyl across a volcanic planet, killing barbarians, and finally confronting the Loc-Nar. She sacrifices herself to defeat the Loc-Nar but no worries! We return to Earth where, for some reason, the Loc-Nar explodes and the girl from the beginning of the film is revealed to be Taarna reborn. She even gets to fly away on her pterodactyl. Taarna was really great when I was twelve but today, it is impossible to watch it without flashing back to the Major Boobage episode of South Park.