Speaking from experience, the first and only thing that TV viewers would have associated Morita with at that point was "Arnold."
MeTV's SuperSci-Fi Saturday Night
- Thread starter JD
- Start date
A pretty good one. I love it when we get a McGee focus, and it's a big moment to finally get our first (but not last!) look at the offices of the National Register. This is the best character-building Jack's gotten so far, and his most sympathetic turn yet.
I was surprised that a story where David is at such risk of exposure by his nemesis was played largely for humor. Although I guess that illustrates that we're not supposed to see McGee as a bad guy, per se. Some of the humor was a little broad, but it worked pretty well overall. The avuncular guard was a fun character, and seeing David come so close to being spotted by McGee more than once was effective, especially at the end.
The Hulk running loose in the Register itself is a great idea; it's a shame they didn't have the budget to give it the scope it needed. And there was a lack of clear payoff for the editor's ultimatum to McGee to get more on the Hulk or drop the story. I assume the headlines about the Hulk attacking the NR's own offices would've done it, but it would've helped to get some clear photos, at least. Though there were eyewitnesses and plenty of physical evidence of damage.
I thought so too. I guess he's Just That Driven.
Hard to say, but I'm sure people noticed the resonance.
At this point, he was only the unit production manager, not yet a producer. The unit production manager is basically the person in charge of the nitty-gritty work of making the show happen, overseeing details of the production like budget and logistics and supervising the crew.
I dunno, sympathetic antagonists weren't that unusual in Fugitive-premise series. The ur-example, of course, is The Fugitive's Lt. Gerard (Barry Morse), who was a deeply sympathetic and honorable adversary, increasingly coming to suspect that Dr. Kimble was innocent of murder, yet committed to his duty to bring him in for fleeing justice. In the later Starman TV series with Robert Hays, government agent Fox (Michael Cavanaugh) was more adversarial, but still had a lot of sympathetic traits, much more so than Richard Jaeckel's Fox from the movie, both due to the writing and to Cavanaugh's inherent amiability.
And well it should. The only way to salvage its reputation was to admit its own reporter's wrongdoing and show it was committed to repudiating it and cleaning up its act.
I know what a unit production manager is; I refer to Steinhauer as producer, as that is what he's best known for in TIH production.
As noted earlier, McGee is not so clearly sympathetic, as his some of his own analysis of Arnold will be used against him, revealing not so sympathetic motives in "Mystery Man."
This is a public forum. Other people read it, and they may be interested to know what a unit production manager is.
But it is not the job he held at the time this episode was made, so it's a misleading statement. You could've said "unit production manager and future producer," say.
Personally, I think it's interesting that they would've named the Register's publisher after Steinhauer when he was still "just" the UPM. I mean, UPM is a pretty significant job in the production, but it's more like the editor of the paper than the publisher. So it seems there's more to this in-joke than meets the eye.
Would you agree, though, that the "Another town, another name" line was an obvious echo of the narrator from The Fugitive (a point that I think may have been lost in the way I joined it together with the New Mexico reference)?
I agree that "Another town, another name" was probably inspired by the many times William Conrad said something similar for The Fugitive. Even the usual hero-walking away / going somewhere ending so popularized by The Fugitive was used in TIH, although Banner's evoked a greater sense of sadness being accompanied by The Lonely Man theme.
Maybe this is the workplace safety meeting in my head--but Banner would not have had a chance to Hulk out getting his arm between those two roller/drums. Shades of THE MANGLER. I won't post the you tube link here--but it happened in China--and even after the video was slowed down 50%--the event is nearly instantaneous. Do be careful at work.
https://www.gofundme.com/billbixbystarfund
I been enjoying the Hulk discussion for awhile now. I thought this would best place to share this. Bill Bixby does not have a Star on the Hollywood Walk of Fame. Early this year the actor who played his son on the "Courtship of Eddie's Father" started a fundraiser to change that. They raised a huge amount of money in a short time. But not enough to qualify for this year's selections. I first learned of this about a month ago after that deadline pasted. But he is starting it up again, building on the money already raised. There is 10 months until the deadline for next year's additions.
I almost never donate to stuff. But I plan to make a small donation tomorrow on my payday. Bill Bixby was a huge reason why that show was successful. The Walk of Fame has always been built partly on fan fundraising. https://www.gofundme.com/billbixbystarfund
Of course studios often donate a part of it. Using the ceremonies as promotion for new products. If this gains a higher profile it would be nice if Marvel chip in some money too. I would not be surprised if Mark Ruffalo would attend. He has credited Bixby's portrayal as an inspiration of his own.
I been enjoying the Hulk discussion for awhile now. I thought this would best place to share this. Bill Bixby does not have a Star on the Hollywood Walk of Fame. Early this year the actor who played his son on the "Courtship of Eddie's Father" started a fundraiser to change that. They raised a huge amount of money in a short time. But not enough to qualify for this year's selections. I first learned of this about a month ago after that deadline pasted. But he is starting it up again, building on the money already raised. There is 10 months until the deadline for next year's additions.
I almost never donate to stuff. But I plan to make a small donation tomorrow on my payday. Bill Bixby was a huge reason why that show was successful. The Walk of Fame has always been built partly on fan fundraising. https://www.gofundme.com/billbixbystarfund
Of course studios often donate a part of it. Using the ceremonies as promotion for new products. If this gains a higher profile it would be nice if Marvel chip in some money too. I would not be surprised if Mark Ruffalo would attend. He has credited Bixby's portrayal as an inspiration of his own.
I never realized that you have to pay for a star on the Walk of Fame.
"Escape from Los Santos"--
David Brown is walking along the highway, heading to Phoenix, resting near the sign for Los Santos, "Arizona's Gateway to Mexico" as a station wagon roars by--two police cars in hot pursuit. Later, David continues his journey, when the station wagon cruises by, followed by the two police cars; one slows, and the officers offers David a ride (Los Santos being 7 miles away). David is noticeably hesitant about accepting the offer (I'm guessing his survival instincts are on a kind of "yellow alert"), but ends up getting in the car.
The officer introduces himself as Mike Evans, with David responding in kind. David notices a woman in the back of the police car leading the way, and is told she murdered her husband. They pass several motels, but Evans insists on taking David to a "cleaner and cheaper" option near the police station. However, Evans takes David to the Los Santos police station, where Banner meets Sheriff Harris (initially friendly), who jokes about spending the night in his jail (yeah, that's not a hair-raising "joke"). David realizes he's being led to a cell, then stripped of his possessions, imprisoned, and mocked with laughter when he asks for a phone call
The woman (Holly Cooper) arrested for murder (in another cell) tells David that he will be blamed for her husband's murder. Before he can get an explanation, Evans and another officer return, telling him his bag contained letters from Holly--some love letters, and others plotting the death of her husband, Roy Cooper. Outraged at the obvious frame job, David protests, and as the officers remove Holly from her cell, talking about "getting it over with." Holly struggles to escape, telling David, "they're going to kill us!" As David becomes increasingly fearful, yelling "what the Hell is going on here!??" an officer sprays mace in David's eyes (promptly leaving the cell block), triggering a Hulk-out.
The Hulk's growling sends Sheriff Harris to investigate, but he lets out a feeble noise--petrified at setting his eyes on the Hulk, to the point he tries to pull his gun, but drops it. The Hulk pulls the cell door from its bolts, and forces Harris into a corner with the heavy cell door trapping him. The Hulk then busts through the jail's brick wall, in time to push Evans into the trunk of his patrol car, toss the officer (holding Holly) aside, and run off with an unconscious Holly in his arms into the night.
In a wooded area, a couple (Terri and Richie) is parked, with Richie trying to coax his reluctant girlfriend into an evening of passion, when Terri hears growling. She is instantly frightened by, it, but Richie tries to dismiss it as nothing to worry about..until the Hulk (still carrying Holly) walks in front of the car, sending the shocked couple racing away. The Hulk sets Holly on the ground, then transforms back to David. At the police station, Harris is on the phone--taking to Richie about his encounter, and learning the creature carried Holly away.
At a camp of a friendly Mexican family, David tends to Holly. David pays the mother of the group for giving him a shirt and shoes, but when he asks about the location of a phone, the woman nervously begs off...
David: "Well, I don't need any translation for that--they just don't trust us.".
Holly: "Can you blame them?"
David: "I guess not."
David and Holly discuss their predicament--
Holly: "You helped me get away?"
David: "Yes, I guess I did."
Holly: "How do you know I didn't kill my husband?"
David: "It's easy. I'm your accomplice, and I'm innocent.You know, I still don't know everything that's happened to you."
Holly: "Neither do I."
David: "Then why don't you tell me everything that you do know, and we'll see if we can put the pieces together, okay?"
Holly: "Ray is the...Ray was the assistant district attorney. He found out about some corruption in the sheriff's office, mostly smuggling illegals across the border to transport drugs."
David: "Does anyone else know about this besides Ray?"
Holly: "I--I don't think so. He was waiting for more evidence for an indictment..but he--he did keep some files at home."
David: "All right, is there anyone else that you know that would believe you?"
Holly: "Ray's boss, the D.A."
David: "Okay.."
Holly: "But he lives at least 30 miles from here."
David: "What about family or friends, or somebody that could help us--maybe loan us a car--"
Holly: "Well, maybe Bob and Angie, but...but they're Ray's friends. I just came here last year to get married. It is a tight community, and I am an outsider."
David: "Well, let's find out if they're your friends, too. Okay?"
Holly: "You know, we--we really should split up--you could get away.
David:"Nooo. We give the D.A. that evidence, and I'll be cleared along with you."
Holly: "I'd like to think we'd get that far."
David: "We'll get that far."
The next day, David & Holly attempt to ask Bob & Angie for help, but Bob believes Holly murdered Ray, and refuses to help. Matters take on a darker dimension when they overhear a radio report describing the duo as being "armed and dangerous." David & Holly decide to travel the 10 miles to her home to retrieve her truck; at the same time, Sheriff Harris is on his way to Holly's house...
Hours later, David and Holly hide in the bushes near her home, only to see Harris' officers removing boxes containing Ray Cooper's evidence against the police. After the police leave, the duo enter the house, and Holly takes a moment to look at a photo album from Ray & Holly's wedding; inside, an envelope holds several negatives from photos Ray took of the evidence. As the two try to escape in Holly's truck, officer Evans blocks their way, his gun drawn...
Evans handcuffs David and Holly, but is attacked by David when he tries to grab the negatives. Tossing Evans to the ground, the duo use Holly's truck to escape--but end up in a high speed chase across the Los Santos desert. Managing to evade the police, the two reach the home of D.A. Jim Chase, pleading their case; Chase agrees to help, as he leaves for a moment, David and Holly spot Ray Cooper's file box--the same confiscated by the police earlier. Realizing Chase is connected to the police, David and Holly race through the woods, hoping to reach the state police.
At the police station...
Sheriff Harris: "Hawthorne and the dogs are already there. What about the others?"
Evans: "They're on their way. What's the plan, sheriff, capture 'em?"
Sheriff Harris: "No."
Running across the Los Santos back hills, Harris, Hawthorne & his dogs close in. David and Holly successfully navigate a rope bridge, but Holly loses her footing on the cliff edge, almost pulling over the edge...until David Hulks out, lifting her to safety.
Holly--not witnessing the transformation--calls out for David.
As the police cross the rope bridge, the Hulk forces them back by knocking over the support beams. Holly--terrified by the creature--runs off, leaving him lumbering away with a confused expression. The Hulk transforms back to David, while Holly secures a ride from the Mexican family seen earlier.
Sheriff Harris returns to the police roadblock, and checks the Mexican family's truck, then questions the father--
Harris: "Hey, amigo--you speak English? Habla inglés, huh?"
Father: "Si, si."
Harris: "This your family?"
Father: "Si, si"
Harris: "Those two up there, as well?"
Father: "They're my sons!
Harris: "Yeah? Are they here legally? Have y'all got green cards? Or visas? How can you prove you're not wetbacks, then?"
Father: "We were born and raised in Denver, Colorado."
The racist Harris sends the family on their way, warning them to never show up in his part of the world again.
Later, the truck stops off road--the father's two sons open a wooden box revealing a relieved David and Holly.
Outside of another police station, holly is prepared to turn over Ray's evidence...but David explains as a witness, he would be expected to appear at the trial and obviously, he cannot do that. Holly admits she needs David, but assures her she has everything she needs, and will finish what her late husband started.
David hitches a ride with the same Mexican family again, on the road to....
NOTES:
This is a non-cure related episode.
As mentioned above, David is hesitant about getting in the police car; this is probably one of the few times a film or TV superhero is depicted as instantly suspicious or not trusting law enforcement.
Jack McGee & The National Register do not appear, and is not mentioned by any character.
Holly Cooper never learns Banner and the Hulk are one and the same.
Most of the Banner end of the transformation (close-ups) are recycled from the pilot, which was shot with a solid black background. In that way, other backgrounds could be added when necessary, such as the leafy tree seen in this episode.
Banner does not commonly carry a photo ID, as it was not in his wallet when searched by the police.
This is one of the few times Banner leaves town in a vehicle, and without any of his oft-used travel gear, such as his bag, or his familiar jackets.
GUEST STARS:
Shelly Fabares (Holly Cooper) was one of the more popular young actresses of the 1960s, as one of the stars of The Donna Reed Show (ABC, 1958-1966). Pushed by opportunistic Screen Gems to record pop songs to promote on the show to support its Colpix record label, Fabares recorded the eventual #1 hit, "Johnny Angel," (released in February, 1962) which would live on to become an "oldies" radio staple in the decades since.
Before teaming up with Bill Bixby on TIH, Fabares worked with him in the 1967 Elvis vehicle, Clambake. On a related note, Fabares' Donna Reed co-star Paul Peterson was married to Brenda Benet...until she jumped ship for an ill-fated relationship with Bill Bixby, starting in 1969.
Aside from The Incredible Hulk, Fabares' only fantasy credits include "Vanessa," an episode of The Ghost and Mrs. Muir (NBC, 1968), and providing the voice of Martha Kent in Superman: Last Son of Krypton, the pilot for Superman: The Animated Series, where she would continue the role throughout its 1996-2000 run.
Dana Elcar (Sheriff Harris) had a truckload of credits, but on the fantasy side, he's best remembered for being the first actor to portray Dark Shadows' struggling Sheriff George Patterson, forever playing catch-up to the supernatural terrors overrunning Collinwood.
After leaving DS, Elcar was not through serving as a sheriff, as seen in an episode of Quinn Martin's The Invaders ("The Pursued," 1968). Arguably his most high profile fantasy role was as Dimitri Moisevitch in Peter Hyams' underwhelming 2001: A Space Odyssey sequel, 2010: The Year We Make Contact (MGM, 1984).
David Brown is walking along the highway, heading to Phoenix, resting near the sign for Los Santos, "Arizona's Gateway to Mexico" as a station wagon roars by--two police cars in hot pursuit. Later, David continues his journey, when the station wagon cruises by, followed by the two police cars; one slows, and the officers offers David a ride (Los Santos being 7 miles away). David is noticeably hesitant about accepting the offer (I'm guessing his survival instincts are on a kind of "yellow alert"), but ends up getting in the car.
The officer introduces himself as Mike Evans, with David responding in kind. David notices a woman in the back of the police car leading the way, and is told she murdered her husband. They pass several motels, but Evans insists on taking David to a "cleaner and cheaper" option near the police station. However, Evans takes David to the Los Santos police station, where Banner meets Sheriff Harris (initially friendly), who jokes about spending the night in his jail (yeah, that's not a hair-raising "joke"). David realizes he's being led to a cell, then stripped of his possessions, imprisoned, and mocked with laughter when he asks for a phone call
The woman (Holly Cooper) arrested for murder (in another cell) tells David that he will be blamed for her husband's murder. Before he can get an explanation, Evans and another officer return, telling him his bag contained letters from Holly--some love letters, and others plotting the death of her husband, Roy Cooper. Outraged at the obvious frame job, David protests, and as the officers remove Holly from her cell, talking about "getting it over with." Holly struggles to escape, telling David, "they're going to kill us!" As David becomes increasingly fearful, yelling "what the Hell is going on here!??" an officer sprays mace in David's eyes (promptly leaving the cell block), triggering a Hulk-out.
The Hulk's growling sends Sheriff Harris to investigate, but he lets out a feeble noise--petrified at setting his eyes on the Hulk, to the point he tries to pull his gun, but drops it. The Hulk pulls the cell door from its bolts, and forces Harris into a corner with the heavy cell door trapping him. The Hulk then busts through the jail's brick wall, in time to push Evans into the trunk of his patrol car, toss the officer (holding Holly) aside, and run off with an unconscious Holly in his arms into the night.
In a wooded area, a couple (Terri and Richie) is parked, with Richie trying to coax his reluctant girlfriend into an evening of passion, when Terri hears growling. She is instantly frightened by, it, but Richie tries to dismiss it as nothing to worry about..until the Hulk (still carrying Holly) walks in front of the car, sending the shocked couple racing away. The Hulk sets Holly on the ground, then transforms back to David. At the police station, Harris is on the phone--taking to Richie about his encounter, and learning the creature carried Holly away.
At a camp of a friendly Mexican family, David tends to Holly. David pays the mother of the group for giving him a shirt and shoes, but when he asks about the location of a phone, the woman nervously begs off...
David: "Well, I don't need any translation for that--they just don't trust us.".
Holly: "Can you blame them?"
David: "I guess not."
David and Holly discuss their predicament--
Holly: "You helped me get away?"
David: "Yes, I guess I did."
Holly: "How do you know I didn't kill my husband?"
David: "It's easy. I'm your accomplice, and I'm innocent.You know, I still don't know everything that's happened to you."
Holly: "Neither do I."
David: "Then why don't you tell me everything that you do know, and we'll see if we can put the pieces together, okay?"
Holly: "Ray is the...Ray was the assistant district attorney. He found out about some corruption in the sheriff's office, mostly smuggling illegals across the border to transport drugs."
David: "Does anyone else know about this besides Ray?"
Holly: "I--I don't think so. He was waiting for more evidence for an indictment..but he--he did keep some files at home."
David: "All right, is there anyone else that you know that would believe you?"
Holly: "Ray's boss, the D.A."
David: "Okay.."
Holly: "But he lives at least 30 miles from here."
David: "What about family or friends, or somebody that could help us--maybe loan us a car--"
Holly: "Well, maybe Bob and Angie, but...but they're Ray's friends. I just came here last year to get married. It is a tight community, and I am an outsider."
David: "Well, let's find out if they're your friends, too. Okay?"
Holly: "You know, we--we really should split up--you could get away.
David:"Nooo. We give the D.A. that evidence, and I'll be cleared along with you."
Holly: "I'd like to think we'd get that far."
David: "We'll get that far."
The next day, David & Holly attempt to ask Bob & Angie for help, but Bob believes Holly murdered Ray, and refuses to help. Matters take on a darker dimension when they overhear a radio report describing the duo as being "armed and dangerous." David & Holly decide to travel the 10 miles to her home to retrieve her truck; at the same time, Sheriff Harris is on his way to Holly's house...
Hours later, David and Holly hide in the bushes near her home, only to see Harris' officers removing boxes containing Ray Cooper's evidence against the police. After the police leave, the duo enter the house, and Holly takes a moment to look at a photo album from Ray & Holly's wedding; inside, an envelope holds several negatives from photos Ray took of the evidence. As the two try to escape in Holly's truck, officer Evans blocks their way, his gun drawn...
Evans handcuffs David and Holly, but is attacked by David when he tries to grab the negatives. Tossing Evans to the ground, the duo use Holly's truck to escape--but end up in a high speed chase across the Los Santos desert. Managing to evade the police, the two reach the home of D.A. Jim Chase, pleading their case; Chase agrees to help, as he leaves for a moment, David and Holly spot Ray Cooper's file box--the same confiscated by the police earlier. Realizing Chase is connected to the police, David and Holly race through the woods, hoping to reach the state police.
At the police station...
Sheriff Harris: "Hawthorne and the dogs are already there. What about the others?"
Evans: "They're on their way. What's the plan, sheriff, capture 'em?"
Sheriff Harris: "No."
Running across the Los Santos back hills, Harris, Hawthorne & his dogs close in. David and Holly successfully navigate a rope bridge, but Holly loses her footing on the cliff edge, almost pulling over the edge...until David Hulks out, lifting her to safety.
Holly--not witnessing the transformation--calls out for David.
As the police cross the rope bridge, the Hulk forces them back by knocking over the support beams. Holly--terrified by the creature--runs off, leaving him lumbering away with a confused expression. The Hulk transforms back to David, while Holly secures a ride from the Mexican family seen earlier.
Sheriff Harris returns to the police roadblock, and checks the Mexican family's truck, then questions the father--
Harris: "Hey, amigo--you speak English? Habla inglés, huh?"
Father: "Si, si."
Harris: "This your family?"
Father: "Si, si"
Harris: "Those two up there, as well?"
Father: "They're my sons!
Harris: "Yeah? Are they here legally? Have y'all got green cards? Or visas? How can you prove you're not wetbacks, then?"
Father: "We were born and raised in Denver, Colorado."
The racist Harris sends the family on their way, warning them to never show up in his part of the world again.
Later, the truck stops off road--the father's two sons open a wooden box revealing a relieved David and Holly.
Outside of another police station, holly is prepared to turn over Ray's evidence...but David explains as a witness, he would be expected to appear at the trial and obviously, he cannot do that. Holly admits she needs David, but assures her she has everything she needs, and will finish what her late husband started.
David hitches a ride with the same Mexican family again, on the road to....
NOTES:
This is a non-cure related episode.
As mentioned above, David is hesitant about getting in the police car; this is probably one of the few times a film or TV superhero is depicted as instantly suspicious or not trusting law enforcement.
Jack McGee & The National Register do not appear, and is not mentioned by any character.
Holly Cooper never learns Banner and the Hulk are one and the same.
Most of the Banner end of the transformation (close-ups) are recycled from the pilot, which was shot with a solid black background. In that way, other backgrounds could be added when necessary, such as the leafy tree seen in this episode.
Banner does not commonly carry a photo ID, as it was not in his wallet when searched by the police.
This is one of the few times Banner leaves town in a vehicle, and without any of his oft-used travel gear, such as his bag, or his familiar jackets.
GUEST STARS:
Shelly Fabares (Holly Cooper) was one of the more popular young actresses of the 1960s, as one of the stars of The Donna Reed Show (ABC, 1958-1966). Pushed by opportunistic Screen Gems to record pop songs to promote on the show to support its Colpix record label, Fabares recorded the eventual #1 hit, "Johnny Angel," (released in February, 1962) which would live on to become an "oldies" radio staple in the decades since.
Before teaming up with Bill Bixby on TIH, Fabares worked with him in the 1967 Elvis vehicle, Clambake. On a related note, Fabares' Donna Reed co-star Paul Peterson was married to Brenda Benet...until she jumped ship for an ill-fated relationship with Bill Bixby, starting in 1969.
Aside from The Incredible Hulk, Fabares' only fantasy credits include "Vanessa," an episode of The Ghost and Mrs. Muir (NBC, 1968), and providing the voice of Martha Kent in Superman: Last Son of Krypton, the pilot for Superman: The Animated Series, where she would continue the role throughout its 1996-2000 run.
Dana Elcar (Sheriff Harris) had a truckload of credits, but on the fantasy side, he's best remembered for being the first actor to portray Dark Shadows' struggling Sheriff George Patterson, forever playing catch-up to the supernatural terrors overrunning Collinwood.
After leaving DS, Elcar was not through serving as a sheriff, as seen in an episode of Quinn Martin's The Invaders ("The Pursued," 1968). Arguably his most high profile fantasy role was as Dimitri Moisevitch in Peter Hyams' underwhelming 2001: A Space Odyssey sequel, 2010: The Year We Make Contact (MGM, 1984).
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"Escape from Los Santos": A pretty mediocre episode with a lot of cliches -- corrupt small-town cops, the protagonists handcuffed together and on the run, a car chase ending in a very Dukes of Hazzard-ish cop car crash, even a deputy doing the Patented Hick Cop Hat Throw of Disgust when his quarry gets away. It feels very much like a generic script written to be shopped around to whatever action show would take it, especially given that the second Hulk-out isn't even pivotal to the climax, with a good five minutes of story left afterward.
We've seen some episodes before where it was implausible that people didn't figure out David turned into the Hulk (e.g. the kid and stewardess in "747," who knew David was alone in the cockpit that the Hulk emerged from, and the cabbie in whose back seat David transformed in "Terror in Times Square"), but this one takes the cake. David is actually handcuffed to Holly and holding her arm while he Hulks out, and when the Hulk pulls her up from the cliff, she somehow doesn't realize it's David.
Also, if the cops' corruption involved smuggling illegal immigrants across the border to work for them, how come they couldn't figure out that the folks in the pickup truck were smuggling people in the back? You'd think they'd know all the tricks for hiding people in vehicles.
It's always a bit weird to me to see Dana Elcar as a bad guy, since I know him best as the amiable Pete Thornton, boss and best friend of MacGyver. As it happens, his character here was named Pete too, according to the nameplate on his desk.
This episode had two future veterans of the Power Rangers franchise involved. It was co-written by Bruce Kalish, who would be the showrunner of four of the eight Disney-era seasons of Power Rangers (S.P.D., Mystic Force, Operation Overdrive, and Jungle Fury), and it had a guest role (Forrest, who I think was probably the overly aggressive boyfriend) for Kerrigan Mahan, who would be the voice of Goldar in Mighty Morphin Power Rangers and Power Rangers Zeo and Magna Defender in PR: Lost Galaxy. Mahan would also play the villainous Edwin Alva in Static Shock, making him a DC Animated Universe veteran along with Shelley Fabares.
This is the second episode to be scored by Charles R. Cassey. As before, I don't like his scoring quite as much as Joe Harnell's, though it does get kind of grand and dramatic at times.
Oh, by the way, a funny detail I noticed -- in the chase scene, there was a close-up of the speedometer needle rising toward 80 MPH... and then in the very next shot, an angle on David and Holly shifting, you could see in the background that the needle was only around 20-something.
We've seen some episodes before where it was implausible that people didn't figure out David turned into the Hulk (e.g. the kid and stewardess in "747," who knew David was alone in the cockpit that the Hulk emerged from, and the cabbie in whose back seat David transformed in "Terror in Times Square"), but this one takes the cake. David is actually handcuffed to Holly and holding her arm while he Hulks out, and when the Hulk pulls her up from the cliff, she somehow doesn't realize it's David.
Also, if the cops' corruption involved smuggling illegal immigrants across the border to work for them, how come they couldn't figure out that the folks in the pickup truck were smuggling people in the back? You'd think they'd know all the tricks for hiding people in vehicles.
It's always a bit weird to me to see Dana Elcar as a bad guy, since I know him best as the amiable Pete Thornton, boss and best friend of MacGyver. As it happens, his character here was named Pete too, according to the nameplate on his desk.
This episode had two future veterans of the Power Rangers franchise involved. It was co-written by Bruce Kalish, who would be the showrunner of four of the eight Disney-era seasons of Power Rangers (S.P.D., Mystic Force, Operation Overdrive, and Jungle Fury), and it had a guest role (Forrest, who I think was probably the overly aggressive boyfriend) for Kerrigan Mahan, who would be the voice of Goldar in Mighty Morphin Power Rangers and Power Rangers Zeo and Magna Defender in PR: Lost Galaxy. Mahan would also play the villainous Edwin Alva in Static Shock, making him a DC Animated Universe veteran along with Shelley Fabares.
This is the second episode to be scored by Charles R. Cassey. As before, I don't like his scoring quite as much as Joe Harnell's, though it does get kind of grand and dramatic at times.
Oh, by the way, a funny detail I noticed -- in the chase scene, there was a close-up of the speedometer needle rising toward 80 MPH... and then in the very next shot, an angle on David and Holly shifting, you could see in the background that the needle was only around 20-something.
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The Incredible Hulk
"Escape from Los Santos"
Originally aired December 1, 1978
I believe this is the last episode of 1978, for whatever that's worth.
He's a Fugitive first, superhero second.
At -38:39, our second-earliest Hulk-Out that doesn't occur in flashback. They played with the formula more than I remembered.
-10:12, which appears to be our earliest Second Hulk-Out, edging out "Another Path" by a mere second.
Giving "Just schlepping around" a more solid lead.
Yeah...he doesn't seem like as much of a Lonely Man when he's riding on the back of a truck with a couple of other guys.
Ah, I thought I'd wow you guys with that one, but I did have a clip ready:
Didn't have that ready, but it wasn't hard to find:
Looks like he returned to sheriffing after he left the Marine Corps...and he brought Lt. Casey (W.K. Stratton, playing Deputy Munro) with him!
David seemed to know a lot about getting around with somebody handcuffed to him...makes you wonder what sort of games he and Laura used to play....
In addition to the general cliches, the situation in this episode reminded me of "The Waterfront Story"--specifically, David getting involved with a woman whose dead husband left behind evidence of local corruption.
You beat me to that one.
And that one! I might have to keep a list of these clueless folk in case more pop up.
Especially since the crate would be such an obvious hiding place.
Really? As cross-referenced above, I know him best from Baa Baa Black Sheep / Black Sheep Squadron, where his Colonel Lard is the by-the-book superior officer / regular nemesis of Robert Conrad's rule-busting Pappy Boyington...not strictly a bad guy, but definitely an asshole.
"Escape from Los Santos"
Originally aired December 1, 1978
I believe this is the last episode of 1978, for whatever that's worth.
Our third re-use of an alias this season.
...humming a Glen Campbell song.
I think his main concern would be avoiding identification...a situation that he finds himself in when picked up by some cops later in the series.
He's a Fugitive first, superhero second.
At -38:39, our second-earliest Hulk-Out that doesn't occur in flashback. They played with the formula more than I remembered.
-10:12, which appears to be our earliest Second Hulk-Out, edging out "Another Path" by a mere second.
Giving "Just schlepping around" a more solid lead.
I think one of them was from "Married".
Yeah...he doesn't seem like as much of a Lonely Man when he's riding on the back of a truck with a couple of other guys.
Ah, I thought I'd wow you guys with that one, but I did have a clip ready:
Didn't have that ready, but it wasn't hard to find:
Looks like he returned to sheriffing after he left the Marine Corps...and he brought Lt. Casey (W.K. Stratton, playing Deputy Munro) with him!
David seemed to know a lot about getting around with somebody handcuffed to him...makes you wonder what sort of games he and Laura used to play....
In addition to the general cliches, the situation in this episode reminded me of "The Waterfront Story"--specifically, David getting involved with a woman whose dead husband left behind evidence of local corruption.
You beat me to that one.
And that one! I might have to keep a list of these clueless folk in case more pop up.
Especially since the crate would be such an obvious hiding place.
Really? As cross-referenced above, I know him best from Baa Baa Black Sheep / Black Sheep Squadron, where his Colonel Lard is the by-the-book superior officer / regular nemesis of Robert Conrad's rule-busting Pappy Boyington...not strictly a bad guy, but definitely an asshole.
Yup, looks like the next episode, "Wildfire," didn't air until January 17. That's a seven-week holiday-season hiatus -- minus two days, since it's also a time slot change from Friday to Wednesday. Although it's only on Wednesdays for four weeks, until February 7 -- then there's a three-week break, and we're back to Fridays for the "Mystery Man" 2-parter.
That's a show I only vaguely remember being aware of. I guess it wasn't one I watched. To me, Dana Elcar will always be Pete Thornton. Not that I haven't seen him in bad-guy roles from time to time, but Pete was not only the role that really made me familiar with him, it was his longest-running role, lasting 6 years. And probably the most personal one, since Elcar's development of glaucoma and his resulting vision loss were written into MacGyver's storylines.
Hey, this is interesting -- Elcar's stunt/photo double on MacGyver was Don S. Davis, later General Hammond in Stargate SG-1. I can absolutely see the resemblance.
So we weren't seeing things.
...and was proving it was Marvel's only TV jewel in the crown of the decade, at the same time the Spider-Man series--while reportedly popular--was kicked all over the schedule map by CBS, all but promising cancellation.
I think David is not too trusting of the police, unless he calling them to apprehend bad guys.
I also believe David not carrying an ID--even a phony one--only sounds off alarms to law enforcement, as they tend to think no functioning adult should walk around with absolutely no form of personal identification, so if he's ever questioned or arrested, he increases the risk of the police running a background check--and as you point out, that will happen in the third season.
...which was good, as it prevented that "I'm only here for the Hulk-outs" part of the audience from checking in or out based on an expected schedule.
That's right--the shot of David near the lamp.
...as long as that lasts. He promised to somehow contact Holly, but David rarely reconnects with one-town friends.
Fabares always said she was uncomfortable recording, because she was not a singer, and felt intimidated by the pro background singers supporting her. But Screen Gems--and Reed's husband wanted to milk a pop connection, so into the recording studio she (and Paul Peterson) went.
That would have made a Very Special Episode--flashback edition....
Good catch. When reviewing the episode, I thought of "The Waterfront Story," but one of the differences is that there's no real romance between David and Holly in the way of his growing relationship with that episode's Josie character.
When are obvious hiding places ever searched in TV & movies? In Star Wars, can anyone believe the mighty empire with the galaxy's top sensor equipment missed 3 humans, a Wookie and two droids simply sitting in smuggling compartments under the floors of the Falcon? Accepted that escape pods were jettisoned, and still not triple check every possible opening, structure, etc., of a ship that belonged to a man who recently killed Stormtroopers on Tatooine?
...well..I guess Sheriff Harris is not the only less than thorough guy....
One would have to assume that Han's compartments had something that fooled sensors. He was a professional smuggler.
Yeah, but that would be audience writing for the film. On film, they were just compartments, with no sort of sensor blocking technology mentioned or implied.
Weren't they just hauling in the sensor equipment when Han ambushed them and lured in the stormtroopers?
And who was he going to call..?
Hulkbusters?
