The device was designed to stress test alloys, so I'm thinking it was not a sonic device. The modification could be in rigging the headset attachment so it can send charges directly into the skull.
MeTV's SuperSci-Fi Saturday Night
- Thread starter JD
- Start date
The device was designed to stress test alloys, so I'm thinking it was not a sonic device. The modification could be in rigging the headset attachment so it can send charges directly into the skull.
I thought so, too. The touch of he masked Cole played into the confusion and bizarre fantasies Doug created.
Which BSG sound effect?
Unless you count trying to beat information out of him (the parking lot scene from "Broken Image" comes to mind) as torture.
I believe so....
I was aware of Boyett, but ran out of time to include him in the review.
Yes, she was anything other than the helpless, screamer one would expect in any hostage scene of the period. She had the guts to tell Doug she thought her life was coming to a close, and how he was responsible--but in the tone of a therapist, instead of frightened victim.
The door effect, of course.
This is an 85% non-facetious introductory line for:
The Incredible Hulk
"Sanctuary"
Originally aired November 6, 1981
Events in the news in the weeks since the previous episode:
More hiatus holdover business:
"Urgent," Foreigner
(Charted July 4; #4 US; #32 Dance; #1 Rock; #54 UK)
New on the charts in the weeks since the previous episode:
"Leather and Lace," Stevie Nicks & Don Henley
(#6 US; #10 AC; #26 Rock)
"Turn Your Love Around," George Benson
(#5 US; #32 Dance; #1 R&B; #29 UK)
"Don't Stop Believin'," Journey
(#9 US; #8 Rock)
"Centerfold," The J. Geils Band
(#1 US the weeks of Feb. 6 through Mar. 13, 1982; #12 Dance; #1 Rock; #3 UK)
_______
The Incredible Hulk
"Sanctuary"
Originally aired November 6, 1981
MeTV said:
Events in the news in the weeks since the previous episode:
More hiatus holdover business:
"Urgent," Foreigner
(Charted July 4; #4 US; #32 Dance; #1 Rock; #54 UK)
New on the charts in the weeks since the previous episode:
"Leather and Lace," Stevie Nicks & Don Henley
(#6 US; #10 AC; #26 Rock)
"Turn Your Love Around," George Benson
(#5 US; #32 Dance; #1 R&B; #29 UK)
"Don't Stop Believin'," Journey
(#9 US; #8 Rock)
"Centerfold," The J. Geils Band
(#1 US the weeks of Feb. 6 through Mar. 13, 1982; #12 Dance; #1 Rock; #3 UK)
_______
This is okay. I'm not a big fan of Foreigner.
This is a really nice duet by two favorites.
Back to the boring early 80s.
Yeah, I like Journey. Sue me.
I'm not a big fan of J. Geils, either, but I love this one.
Is it? Word on the street says...
Sort of okay song, but not the first Foreigner song I usually pick when revisiting this band
...if ever there was a time for another record burning....
Ho-hum.
Ugh. The kind of song that inspired a million "rock marches" that ended up on 80s album/cassette collections.
Soooo 1980s with that keyboard opening....
Yeah, it's alright, but I'm not wildly enthusiastic about it or anything.
RJDiogenes said:
I'm more with RJD on this one...it's not a particular favorite for me, but it's a pleasant enough classic song.TREK_GOD_1 said:
RJDiogenes said:
I dunno...I might have been inclined to agree with you guys, but the song's been playing in my head today. Deceptively catchy...?TREK_GOD_1 said:
RJDiogenes said:Yeah, I like Journey. Sue me.
It's decent. "Rock marches"?TREK_GOD_1 said:
RJDiogenes said:I'm not a big fan of J. Geils, either, but I love this one.
This is totally a classic of the decade and my early adolescence.TREK_GOD_1 said:
_______
You just need to know who to ask
^^ That's a goodie, too.
That's about right.
I had to go back up and click to remind myself what it sounded like.
I guess what I like about Journey is their earnestness. They're over the top, but in a different way than REO Speedwagon-- they're almost pleading, in contrast to Speedwagon's bombasticness. But both are very 80s (in the good way).
Yes, definitely an 80s classic.
The Incredible Hulk--
"Sanctuary"
SAN MIGUEL--Local human trafficker Patrero receives several adult Mexican males for smuggling to Colorado. One of the migrants--a youngster named Roberto--protests that plan, as he's paid $500 to reach his family in Texas. Franco (Patrero's henchman) tries to grab the boy, but Roberto breaks free (not before being shot in the arm) and makes his way to the nearby mission of Sister Anita, a strong-willed woman who also happens to be on a crusade to clean up the region from the criminal influence of Patrero. New employee David learns a few details about Sister Anita from Father Young--
Young: "...she's like a four-star general. Except the troops haven't shown up for quite some time."
David: "Why's that?"
Young: "Well, you can't force people to pray...not when they're better entertained at the crap tables, or getting stoned."
David nods his understanding--
Young: "..she's decided to clean up the town."
David: "You're kidding. Alone?"
Young: "Well, the other sisters, of course. Now she's got some hot shot from Santa Fe interested. You know the kind--Ralph Nader in a priest's collar. Just the type to give Patrero a run for his money."
David: "Patrero?"
Young: "You haven't been here long, have you?"
David: "No, just a couple of days. They offered me some work for some room and board."
Young: "That's nice. Well, Patrero...he runs San Miguel. Kind of a local syndicate..."
Interrupted by Sister Anita, the Father takes his leave just as the injured Roberto collapses in front of them; David helps the boy inside the mission, while Franco (also a former mission resident) shows up, demanding the mission release Roberto into his custody...while reaching for his gun. Sister Anita claims Roberto has been offered sanctuary by the mission, then she--in a positively fearless posture--orders Franco off of the property while brandishing a shovel...ready to strike. Moments later, as the Sister phones the police, Franco cuts the phone lines. Although David tends to Roberto's wounds, he insists the boy receive professional medical care--against Sister Anita's wishes--
David: "Sister, a bullet entered just below his left shoulder blade, it didn't come out the other side--I've stopped the external bleeding, and e's resting now, but who knows what's going on inside?"
Anita: "I wish Father Costa were here and not in Santa Fe."
David: "Why??"
Anita: (sighs) "David, you don't understand how serious this is."
David: "No, you don't understand that that boy needs a doctor and not a political activist!"
Anita: "Patrero knows that he can identify him. Now, there is a hospital in Los Arcos...that's 50 miles away--our phones are dead. If we put him in the local hospital, its putting him into Patrero's hands!"
David: "Isn't there any way to get around this Patrero?"
Anita: (carefully looking at David) "I don't think he'll do anything foolish with an outsider watching. Someone important, like...like Father Costa...or someone he thinks is Father Costa."
David: "Oh, no sister. Now wait a minute..."
Anita: "Now Father Young keeps a change of clothes here..."
David: "No, sister--I'm not going to impersonate a priest!"
Anita: "I'm not asking you to be a priest. I am asking you to help me save the boy. That's not a sin. There must be a reason you were sent here the same time as the boy!"
David: "Sister, I will help any other way that I can."
Franco returns...with Patrero. It is clear the criminal & the sister have a long history--certainly no state of détente to be sensed--with the criminal moving from asking, to demanding the return of Roberto. Suddenly, David emerges, dressed in a collar & robes--pretending to be Father Costa. In this position, he maneuvers around Sister Anita to agree that Roberto should be transported to the hospital in Los Arcos, while making a pointed reminder about the church's role in the community. Patrero is skeptical of the "Father's" beliefs, but leaves the matter to him.
Later, Patrero meets with the shifty Sheriff Dean about the Roberto situation, and his role in the crimes--
Dean: "Look, I don't' want no trouble with Immigration! You bring 'em over the border--I just look the other way!"
Patrero: "Which makes you an accessory. We've got to get to the kid before he can talk."
Dean: "What about this priest--eh--I mean I don't like the whole thing!"
Patrero: "Look, you're the sheriff-the law. I mean, you did say you wanted to run for mayor next year, right?"
Dean: (sighs) "What do you want me to do?"
Patrero: "Just go in and arrest him. He is an illegal alien."
Dean: "Good--I like that!"
Patrero: "I'm glad you do. I'll take care of the rest."
Sheriff Dean tries to arrest Roberto (and get him to medical care), but is blocked by Sister Anita and Banner's rank-pulling by not only reminding him of Roberto's sanctuary status, but citing the need to call immigration if he (Roberto) is to be picked up. With that, Dean leaves, giving the rather limp order for no one to leave the mission with the boy.
Later, David wonders if Sister Anita still believes in miracles, and her chances in this latest moral fight--
David: "...but you still believe you can fight Patrero?"
Anita: "Of course. It's just part of a bigger fight--to see things the way they really are, and still keep the faith."
David: "Well, that's a miracle of sorts. Sometimes faith is all that keeps us going."
At the Patrero mansion, the criminal argues with Rudy--his son--over the importance of getting Roberto back, his lack of faith, his war with Sister Anita and the motives for human trafficking. Further--
Patrero: "Look, this is business, Rudy. You know, you have to learn to keep both of them separate. Unless, of course, you're afraid...afraid that Sister Anita will hit you again with a ruler, huh? "
Rudy: "I just want to know why its so important!"
Patrero: "All right! I'll tell you why. You know about your grandfather--I mean, who he got us out of Mexico. Mama, myself, your Uncle Sal. I was only a boy, but I remember. Even now. Every time we bring in a new truckload, I remember touching my own rosary and praying we wouldn't get caught. You know something? We could have had all of this (motioning to the large property) even back then, Except for my father. Poor Papa...he was so afraid to do anything that the church might disapprove of. He made us...humble...and filled us with the fear of eternity in Hell. So we crawled around in the fields, and we picked beets...until Mama couldn't even stand up straight anymore! That's how HE died--your grandfather. On his hands and knees in some field without even a priest being there for his precious last rites!"
Rudy: "But its not like that anymore!"
Patrero: "Because I wont allow it--that's why!! Because I will not live by their rules!! No one tells Patrero how to run his life, except Patrero."
Tired of Rudy's debate, Patrero insults him by assigning all of his responsibilities (including taking Roberto by force from the mission) to his brother Tomas, and telling Rudy to sit with the old ladies "fearing the wrath of God". He ends the conversation by showing his utter contempt for his abandoned faith by stating he does not fear Hell, as he's "been there" (or, so he's convinced himself) in the labor fields....
Trying to win approval from his father, Rudy and an associate sneak into the mission to kidnap Roberto. Hearing suspicious rustling, David investigates, but is attacked by the two invaders; although Banner puts up a fight, he is chained to a tree stump and gagged--more than enough to trigger a Hulk-out. The creature snaps the chains, uproots the massive tree and torpedoes it at the men. Rudy scrambles to his feet, but the Hulk pushes over the stone statue of St. Michael on top of him--with enough space from the arm to avoid being crushed. The Hulk brushes the statue away, giving Rudy enough time to escape.
The Hulk wanders around the property, accidentally sounding the church bell, which draws Sister Anita to its site, where she gasps at seeing the shirtless David. Using Rudy & his henchman to explain away his condition, David returns to treating Roberto, who still needs serious medical attention.
Patrero and his henchman enter the mission, with the trafficker offending Sister Anita by comparing his work to that of Moses, and mocking the alleged self-righteousness of Sister Anita. Ordering Patrero off the property is met with a barely veiled threat.
After Rudy's encounter with the statue of St. Michael--and the Hulk, he believes he was the recipient of an eye-opening miracle, going so far as to tell the other locals, and apologize to David (back in his Father Costa guise). The locals seek guidance from "Father"--pushed along by Sister Anita's encouragement. David--in layman's terms--referencing Biblical scripture to illustrate a point about the locals learning to help, trust and protect themselves from predatory people (the message does not pass anyone by). Trying to remove the wind from David's sails, Patrero tries the "resist outsiders" line, bragging about how much he's given to the people and church--essentially trying to render the Sisters (and by extension, faith in God) as useless to this tight-knit community. David fights back by telling the people of Patrero's control through money, and how the hook of his kind of help will eventually place them permanently under his thumb.
Rudy accuses his father of being bitter, and trying to play God, causing Patrero to disown Rudy. Later, the mission's problems mount as the real Father Costa finally arrives...giving the scheming Patrero the smile of a tool he will soon use against the hated Sister Anita....
Vulture-ing his way back to the mission, Patrero reveals the real Father Costa is with his men--meaning David's act is over. Sister Anita has no choice but to and over Roberto...if he's still around. To that end, David and Sister Anita take the mission's barely-functioning truck to transport Roberto to the hospital...with the trigger-happy Patrero in hot pursuit. The volley of bullets causes David to lose control of the truck, crashing into one of the town's building with enough force to trigger another Hulk out (while Sister Anita is dazed from the impact).
As a beaming Patrero and Sheriff Dean approach the crash site, the Hulk breaks out of the vehicle, grabs the criminal and sends him head first into the town water fountain. Hearing sirens, the Hulk leaves, as the state police arrive--led by Rudy. Patrero calls Rudy a Judas, but the young man reminds him that he--according to Patrero--is no longer his son, so he's hardly a Judas.
The real Father Costa discusses the recent events with Sister Anita, noting that as the star witness against Patrero (assuring a conviction), Roberto will have an easier time getting a green card (ultimately reuniting with his family in Texas). With the Archbishop and publicity on their side, Father Costa asks that no one mention the sight of a green creature, which some of the eyewitnesses believed to be a miracle (in playing a part in the downfall of Patrero). Sister Anita points out that their real miracle was in a total stranger--a transient--pretending to be a priest, managing to convince the locals to trust in each other again, and free themselves from the control of Patrero.
NOTES:
This is not a cure-related episode.
Jack McGee does not appear in this episode.
Human trafficking from Mexico into the U.S. was a problem spanning generations by the time this episode aired (witnessed in my own backyard--so to speak--in southern California), but it was rarely explored on U.S. TV, and certainly not from the different perspectives seen here (despite Rudy being a bit naïve in thinking the struggles of the past no longer exist). The issue and acknowledgement of migrants even existing was previewed (in a sense) by the recurring presence of the Mexican family seen in "Escape from Los Santos" from season two. In no surprise, TIH addressed issues with more sensitivity few superhero series ever matched or--frankly--covered, or was not as misguided and/or heavy-handed as some present day comic adaptations.
Sister Anita observes David believing in miracles with his reference (and knowledge about St. Michael). That Banner could so easily pretend to be Father Costa and successfully sell it speaks to his character, as most would stumble over attempts to speak with some air of virtue on that level.
Pairing Banner with colorful nuns calls back to a series said to be one TIH's influences--The Fugitive, specifically the episodes "Angels Travel on Lonely Roads" & "The Breaking of the Habit" with Eileen Heckart's as the sharp Sister Veronica.
David actually throws / lands a punch (on Rudy). Rare for David.
With two of this week's guests appearing on one or both of the Bionic-verse series, its appropriate to take a moment to acknowledge the passing of Oscar Goldman himself, 91-year old Richard Anderson. He was an actor who truly brought new meaning to the word versatile (in fantasy and anything else), and by accounts I'm familiar with, was a decent guy off camera.
GUEST CAST:
Diana Muldaur (Sister Anita) returns to TIH, after guest starring as Dr. Helen Banner in "Homecoming" from season three. Muldaur first worked with Bixby in "And Eddie Makes Three"--an episode of his sitcom The Courtship of Eddie's Father (ABC, 1969).
She is also a Roddenberry-land heavyweight--appearing as Ann Mulhall in Star Trek's "Return to Tomorrow" (NBC, 1968) and Dr. Miranda Jones in "Is There in Truth No Beauty?" (NBC, 1968). Before becoming a poor McCoy knock-off Pulaski in Star Trek: The Next Generation's second season (Syndicated, 1988-89), she worked with Roddenberry on his second of three failed pilots--Planet Earth (ABC, 1974).
Other fantasy credits--
Fausto Barajas (Rudy)--
"Sanctuary"
SAN MIGUEL--Local human trafficker Patrero receives several adult Mexican males for smuggling to Colorado. One of the migrants--a youngster named Roberto--protests that plan, as he's paid $500 to reach his family in Texas. Franco (Patrero's henchman) tries to grab the boy, but Roberto breaks free (not before being shot in the arm) and makes his way to the nearby mission of Sister Anita, a strong-willed woman who also happens to be on a crusade to clean up the region from the criminal influence of Patrero. New employee David learns a few details about Sister Anita from Father Young--
Young: "...she's like a four-star general. Except the troops haven't shown up for quite some time."
David: "Why's that?"
Young: "Well, you can't force people to pray...not when they're better entertained at the crap tables, or getting stoned."
David nods his understanding--
Young: "..she's decided to clean up the town."
David: "You're kidding. Alone?"
Young: "Well, the other sisters, of course. Now she's got some hot shot from Santa Fe interested. You know the kind--Ralph Nader in a priest's collar. Just the type to give Patrero a run for his money."
David: "Patrero?"
Young: "You haven't been here long, have you?"
David: "No, just a couple of days. They offered me some work for some room and board."
Young: "That's nice. Well, Patrero...he runs San Miguel. Kind of a local syndicate..."
Interrupted by Sister Anita, the Father takes his leave just as the injured Roberto collapses in front of them; David helps the boy inside the mission, while Franco (also a former mission resident) shows up, demanding the mission release Roberto into his custody...while reaching for his gun. Sister Anita claims Roberto has been offered sanctuary by the mission, then she--in a positively fearless posture--orders Franco off of the property while brandishing a shovel...ready to strike. Moments later, as the Sister phones the police, Franco cuts the phone lines. Although David tends to Roberto's wounds, he insists the boy receive professional medical care--against Sister Anita's wishes--
David: "Sister, a bullet entered just below his left shoulder blade, it didn't come out the other side--I've stopped the external bleeding, and e's resting now, but who knows what's going on inside?"
Anita: "I wish Father Costa were here and not in Santa Fe."
David: "Why??"
Anita: (sighs) "David, you don't understand how serious this is."
David: "No, you don't understand that that boy needs a doctor and not a political activist!"
Anita: "Patrero knows that he can identify him. Now, there is a hospital in Los Arcos...that's 50 miles away--our phones are dead. If we put him in the local hospital, its putting him into Patrero's hands!"
David: "Isn't there any way to get around this Patrero?"
Anita: (carefully looking at David) "I don't think he'll do anything foolish with an outsider watching. Someone important, like...like Father Costa...or someone he thinks is Father Costa."
David: "Oh, no sister. Now wait a minute..."
Anita: "Now Father Young keeps a change of clothes here..."
David: "No, sister--I'm not going to impersonate a priest!"
Anita: "I'm not asking you to be a priest. I am asking you to help me save the boy. That's not a sin. There must be a reason you were sent here the same time as the boy!"
David: "Sister, I will help any other way that I can."
Franco returns...with Patrero. It is clear the criminal & the sister have a long history--certainly no state of détente to be sensed--with the criminal moving from asking, to demanding the return of Roberto. Suddenly, David emerges, dressed in a collar & robes--pretending to be Father Costa. In this position, he maneuvers around Sister Anita to agree that Roberto should be transported to the hospital in Los Arcos, while making a pointed reminder about the church's role in the community. Patrero is skeptical of the "Father's" beliefs, but leaves the matter to him.
Later, Patrero meets with the shifty Sheriff Dean about the Roberto situation, and his role in the crimes--
Dean: "Look, I don't' want no trouble with Immigration! You bring 'em over the border--I just look the other way!"
Patrero: "Which makes you an accessory. We've got to get to the kid before he can talk."
Dean: "What about this priest--eh--I mean I don't like the whole thing!"
Patrero: "Look, you're the sheriff-the law. I mean, you did say you wanted to run for mayor next year, right?"
Dean: (sighs) "What do you want me to do?"
Patrero: "Just go in and arrest him. He is an illegal alien."
Dean: "Good--I like that!"
Patrero: "I'm glad you do. I'll take care of the rest."
Sheriff Dean tries to arrest Roberto (and get him to medical care), but is blocked by Sister Anita and Banner's rank-pulling by not only reminding him of Roberto's sanctuary status, but citing the need to call immigration if he (Roberto) is to be picked up. With that, Dean leaves, giving the rather limp order for no one to leave the mission with the boy.
Later, David wonders if Sister Anita still believes in miracles, and her chances in this latest moral fight--
David: "...but you still believe you can fight Patrero?"
Anita: "Of course. It's just part of a bigger fight--to see things the way they really are, and still keep the faith."
David: "Well, that's a miracle of sorts. Sometimes faith is all that keeps us going."
At the Patrero mansion, the criminal argues with Rudy--his son--over the importance of getting Roberto back, his lack of faith, his war with Sister Anita and the motives for human trafficking. Further--
Patrero: "Look, this is business, Rudy. You know, you have to learn to keep both of them separate. Unless, of course, you're afraid...afraid that Sister Anita will hit you again with a ruler, huh? "
Rudy: "I just want to know why its so important!"
Patrero: "All right! I'll tell you why. You know about your grandfather--I mean, who he got us out of Mexico. Mama, myself, your Uncle Sal. I was only a boy, but I remember. Even now. Every time we bring in a new truckload, I remember touching my own rosary and praying we wouldn't get caught. You know something? We could have had all of this (motioning to the large property) even back then, Except for my father. Poor Papa...he was so afraid to do anything that the church might disapprove of. He made us...humble...and filled us with the fear of eternity in Hell. So we crawled around in the fields, and we picked beets...until Mama couldn't even stand up straight anymore! That's how HE died--your grandfather. On his hands and knees in some field without even a priest being there for his precious last rites!"
Rudy: "But its not like that anymore!"
Patrero: "Because I wont allow it--that's why!! Because I will not live by their rules!! No one tells Patrero how to run his life, except Patrero."
Tired of Rudy's debate, Patrero insults him by assigning all of his responsibilities (including taking Roberto by force from the mission) to his brother Tomas, and telling Rudy to sit with the old ladies "fearing the wrath of God". He ends the conversation by showing his utter contempt for his abandoned faith by stating he does not fear Hell, as he's "been there" (or, so he's convinced himself) in the labor fields....
Trying to win approval from his father, Rudy and an associate sneak into the mission to kidnap Roberto. Hearing suspicious rustling, David investigates, but is attacked by the two invaders; although Banner puts up a fight, he is chained to a tree stump and gagged--more than enough to trigger a Hulk-out. The creature snaps the chains, uproots the massive tree and torpedoes it at the men. Rudy scrambles to his feet, but the Hulk pushes over the stone statue of St. Michael on top of him--with enough space from the arm to avoid being crushed. The Hulk brushes the statue away, giving Rudy enough time to escape.
The Hulk wanders around the property, accidentally sounding the church bell, which draws Sister Anita to its site, where she gasps at seeing the shirtless David. Using Rudy & his henchman to explain away his condition, David returns to treating Roberto, who still needs serious medical attention.
Patrero and his henchman enter the mission, with the trafficker offending Sister Anita by comparing his work to that of Moses, and mocking the alleged self-righteousness of Sister Anita. Ordering Patrero off the property is met with a barely veiled threat.
After Rudy's encounter with the statue of St. Michael--and the Hulk, he believes he was the recipient of an eye-opening miracle, going so far as to tell the other locals, and apologize to David (back in his Father Costa guise). The locals seek guidance from "Father"--pushed along by Sister Anita's encouragement. David--in layman's terms--referencing Biblical scripture to illustrate a point about the locals learning to help, trust and protect themselves from predatory people (the message does not pass anyone by). Trying to remove the wind from David's sails, Patrero tries the "resist outsiders" line, bragging about how much he's given to the people and church--essentially trying to render the Sisters (and by extension, faith in God) as useless to this tight-knit community. David fights back by telling the people of Patrero's control through money, and how the hook of his kind of help will eventually place them permanently under his thumb.
Rudy accuses his father of being bitter, and trying to play God, causing Patrero to disown Rudy. Later, the mission's problems mount as the real Father Costa finally arrives...giving the scheming Patrero the smile of a tool he will soon use against the hated Sister Anita....
Vulture-ing his way back to the mission, Patrero reveals the real Father Costa is with his men--meaning David's act is over. Sister Anita has no choice but to and over Roberto...if he's still around. To that end, David and Sister Anita take the mission's barely-functioning truck to transport Roberto to the hospital...with the trigger-happy Patrero in hot pursuit. The volley of bullets causes David to lose control of the truck, crashing into one of the town's building with enough force to trigger another Hulk out (while Sister Anita is dazed from the impact).
As a beaming Patrero and Sheriff Dean approach the crash site, the Hulk breaks out of the vehicle, grabs the criminal and sends him head first into the town water fountain. Hearing sirens, the Hulk leaves, as the state police arrive--led by Rudy. Patrero calls Rudy a Judas, but the young man reminds him that he--according to Patrero--is no longer his son, so he's hardly a Judas.
The real Father Costa discusses the recent events with Sister Anita, noting that as the star witness against Patrero (assuring a conviction), Roberto will have an easier time getting a green card (ultimately reuniting with his family in Texas). With the Archbishop and publicity on their side, Father Costa asks that no one mention the sight of a green creature, which some of the eyewitnesses believed to be a miracle (in playing a part in the downfall of Patrero). Sister Anita points out that their real miracle was in a total stranger--a transient--pretending to be a priest, managing to convince the locals to trust in each other again, and free themselves from the control of Patrero.
NOTES:
This is not a cure-related episode.
Jack McGee does not appear in this episode.
Human trafficking from Mexico into the U.S. was a problem spanning generations by the time this episode aired (witnessed in my own backyard--so to speak--in southern California), but it was rarely explored on U.S. TV, and certainly not from the different perspectives seen here (despite Rudy being a bit naïve in thinking the struggles of the past no longer exist). The issue and acknowledgement of migrants even existing was previewed (in a sense) by the recurring presence of the Mexican family seen in "Escape from Los Santos" from season two. In no surprise, TIH addressed issues with more sensitivity few superhero series ever matched or--frankly--covered, or was not as misguided and/or heavy-handed as some present day comic adaptations.
Sister Anita observes David believing in miracles with his reference (and knowledge about St. Michael). That Banner could so easily pretend to be Father Costa and successfully sell it speaks to his character, as most would stumble over attempts to speak with some air of virtue on that level.
Pairing Banner with colorful nuns calls back to a series said to be one TIH's influences--The Fugitive, specifically the episodes "Angels Travel on Lonely Roads" & "The Breaking of the Habit" with Eileen Heckart's as the sharp Sister Veronica.
David actually throws / lands a punch (on Rudy). Rare for David.
With two of this week's guests appearing on one or both of the Bionic-verse series, its appropriate to take a moment to acknowledge the passing of Oscar Goldman himself, 91-year old Richard Anderson. He was an actor who truly brought new meaning to the word versatile (in fantasy and anything else), and by accounts I'm familiar with, was a decent guy off camera.
GUEST CAST:
Diana Muldaur (Sister Anita) returns to TIH, after guest starring as Dr. Helen Banner in "Homecoming" from season three. Muldaur first worked with Bixby in "And Eddie Makes Three"--an episode of his sitcom The Courtship of Eddie's Father (ABC, 1969).
She is also a Roddenberry-land heavyweight--appearing as Ann Mulhall in Star Trek's "Return to Tomorrow" (NBC, 1968) and Dr. Miranda Jones in "Is There in Truth No Beauty?" (NBC, 1968). Before becoming a poor McCoy knock-off Pulaski in Star Trek: The Next Generation's second season (Syndicated, 1988-89), she worked with Roddenberry on his second of three failed pilots--Planet Earth (ABC, 1974).
Other fantasy credits--
- The Invaders (ABC, 1968) - "The Life Seekers"
- The Other (20th Century Fox, 1972)
- Search (NBC, 1973) - "Ends of the Earth"
- Chosen Survivors (Columbia, 1974)
- The Hardy Boys / Nancy Drew Mysteries (ABC, 1978) - "Sole Survivor"
- The Legend of Prince Valiant (The Family Channel, 1993) - recurring as Lady Morgana
- Batman: The Animated Series (Fox Kids, 1992-93) - recurring as Dr. Leslie Thompkins
- Curse of the Undead (Universal, 1959)
- The Outer Limits (ABC, 1963) - "Tourist Attraction"
- Voyage to the Bottom of the Sea (ABC, 1964) - "The Mist of Silence"
- Rod Serling's Night Gallery (NBC, 1971) - "Cool Air" as Dr. Juan Munos
- The Invisible Man (NBC, 1975) - "The Invisible Man" pilot
- Gemini Man (NBC, 1976) - "Eight-Nine-Ten-You're Dead"
- The Six Million Dollar Man (ABC, 1976) - "Vulture of the Andes"
- Halloween with the New Addams Family (NBC, 1977)
- Wonder Woman (CBS, 1977) - "The Bushwhackers" & "I Do, I Do"
- The Bionic Woman (NBC, 1978) - "Deadly Music"
- The Tarzan / Lone Ranger / Zorro Adventure Hour (CBS, 1980) - voice of Don Diego / Zorro
- Beyond the Universe (Sandler Institutional Films, 1981)
- The New Adventures of Zorro (CBS, 1981) - voice of Don Diego / Zorro
- Tales of the Gold Monkey (ABC, 1983) - "Last Chance Louie"
- Zorro and Son (CBS, 1983) - as Don Diego / Zorro Sr.
- Star Trek: The Next Generation (Syndicated, 1988) - "Conspiracy"
- Zorro (The Family Channel, 1990-1993) - series regular as Don Alejandro de la Vega
- Time Trax (Prime Time Entertainment Network, 1993) - "A Stranger in Time" & "To Kill A Billionaire"
- Star Trek: Voyager (UPN, 1995 & 1996) - "Tattoo" & "Basics: Part I" as Kolopak
- Babylon 5 (PTEN, 1997) - "The Illusion of Truth"
- Night Man (Syndicated / WGN-TV, 1997) - "I Left My Heart" - the terrible Malibu comic turned into a typically horrible Glen A. Larson series with ties to his early 80s nightmare, Manimal
- Beyond Belief: Fact or Fiction (FOX, 1998) - " The Warning/Bus Stop/The Cure/The Guardian/The Gift"
- Scooby-Doo and Scrappy-Doo (ABC, 1979) - various voices
- Pandemonium (Krost.Chapin Productions, 1982)
- The Secret of NIMH (MGM/UA, 1982) - voice of Miss Right
- The New Scooby-Doo Mysteries (ABC, 1984) - various voices
- The Lost Satellite (Allarcom Pay Television Limited, 1983)
- Faerie Tale Theatre (Showtime, 1985) - "Cinderella"
- Yogi's Treasure Hunt (Syndicated, 1985) - "Riddle in the Middle of the Earth"
- The Jetsons (Syndicated, 1985) - "Elroy in Wonderland"
- The 13 Ghosts of Scooby-Doo (ABC, 1985) - "Reflections in a Ghoulish Eye" & "Horror-Scope Scoob"
- Small Wonder (Syndicated, 1985-89) - recurring as Bonnie Brindle
- Elvira, Mistress of the Dark (New World Pictures, 1988)
- Rick Moranis in Gravedale High (NBC, 1990) - voices, and yeah, Moranis was not such a draw to kids that he deserved his own animated series...
- Dinosaurs (ABC, 1992) - "Power Erupts"
- The Addams Family (ABC, 1992) - 21 episodes as Mrs. Normanmeyer
- Inhumanoid (Showtime, 1996) - part of the Roger Corman Presents series
- Homeboys in Outer Space (UPN, 1996) - "A Man's Place Is in the Homey, or the Stepford Guys"
- The Spooktacular New Adventures of Casper (Fox Kids, 1996) - "Three Ghosts and a Baby/I Wanna Be Rude/Leave It to Casper"
- Perversions of Science (HBO, 1997) - "Panic" / short-lived spinoff of Tales from the Crypt
Fausto Barajas (Rudy)--
- Cat People (RKO/Universal, 1982)
- The Bionic Woman (ABC, 1976) - "Canyon of Death"
- Earthquake (Universal, 1974)
- World War III (NBC, 1982)
- Cujo (Warner Brothers, 1983)
- Warning Sign (20th Century Fox, 1985)
- Alfred Hitchcock Presents (NBC, 1985) - "Final Escape"
- The Twilight Zone (CBS, 1986) - "Profile in Silver" as Vice-President Lyndon Johnson, and would play a supporting role in 1987's LBJ: The Early Years TV movie
- Big Trouble in Little China (20th Century Fox, 1986)
- Hi Honey, I'm Dead (FOX, 1991)
- Plymouth (ABC, 1991)
- Quantum Leap (NBC, 1992) - "Roberto! - January 27, 1982"
- Star Trek: The Next Generation (Syndicated, 1988 & 1992) - "When the Bough Breaks", "Time's Arrow" & "Time's Arrow: Part II"
- Lois and Clark: The New Adventures of Superman (ABC, 1993) - "The Green, Green Glow of Home"
- Star Trek: Voyager (UPN, 1995) - "Emanations"
- Secrets of the Bermuda Triangle (BBK Productions, 1996)
- Pandora's Clock (NBC, 1996)
- Brimstone (FOX, 1999) - "Faces"
- Sliders (FOX, 1999) - "Revelations"
- The X-Files (FOX, 1994-1999) - 11 episodes as Deep Throat
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TREK_GOD, Henry Darrow only played Zorro in three different productions. The Tarzan/Lone Ranger/Zorro Adventure Hour was a programming block incorporating The New Adventures of Zorro along with the other two shows, so IMDb is misleadingly listing a single show under two titles.
Zorro and Son was a forgettable sitcom, but interesting to me because of the fact that Darrow was reprising his animation role. I also found it amusing when the Antonio Banderas The Mask of Zorro reused basically the same premise as the sitcom, an aging Don Diego attempting to train an inept successor.
Anyway, back on topic:
Hulk: “Sanctuary”: This one is great fun. I’m not generally interested in religious themes, but Diana Muldaur is awesome as a badass nun, and it’s good to see her chemistry with Bixby again even if she’s playing a different kind of sister this time. It’s got a strong cast overall, including Henry Darrow, Jerry Hardin, and Edie McClurg. And a fun score from Joe Harnell, featuring an action motif reminiscent of his work on The Bionic Woman and some quotes of religious hymns.
I like the infrequent episodes where David reveals his con-artist side and puts on an alternate persona. He may profess reluctance in some cases, but once he commits to it, he really commits.
Zorro and Son was a forgettable sitcom, but interesting to me because of the fact that Darrow was reprising his animation role. I also found it amusing when the Antonio Banderas The Mask of Zorro reused basically the same premise as the sitcom, an aging Don Diego attempting to train an inept successor.
Anyway, back on topic:
Hulk: “Sanctuary”: This one is great fun. I’m not generally interested in religious themes, but Diana Muldaur is awesome as a badass nun, and it’s good to see her chemistry with Bixby again even if she’s playing a different kind of sister this time. It’s got a strong cast overall, including Henry Darrow, Jerry Hardin, and Edie McClurg. And a fun score from Joe Harnell, featuring an action motif reminiscent of his work on The Bionic Woman and some quotes of religious hymns.
I like the infrequent episodes where David reveals his con-artist side and puts on an alternate persona. He may profess reluctance in some cases, but once he commits to it, he really commits.
Fake surname-challenged this episode.
The undercover doctor is in the hou...er, mission.
That's debatable given the show's propensity for throwing in unnecessary additional sources of pain in otherwise perfectly stressful situations. -21:19.
You'd think the statue would have broken from being tossed around like that.
-04:40.
And the unmentioned LM sequence, while disconnected from the previous scene, did appear to be episode-specific.
Schlepping with sis.
Which has just returned to H&I's weekday morning schedule.
Wasn't this also more or less the premise of Zorro, the Gay Blade?
The whole mission setting was also strikingly different for the show.
I should've known I'd need to put something in the preview post to beat you to the reference.
Funny how characters played by good actors tend to be good actors when they need to be.
_______
Next week on Heroes & Icons (H&I):
- "East Winds" (originally aired Feb. 20, 1981)
- "The First" (originally aired Mar. 6, 1981)
- "The First: Part II" (originally aired Mar. 13, 1981)
- "The Harder They Fall" (originally aired Mar. 27, 1981)
- "Interview with the Hulk" (originally aired Apr. 3, 1981)
More or less, yeah, but that was an injured Zorro training his twin brother. Still, it's interesting how many times the idea of Zorro training a replacement has been used. I wonder why.
Especially since that's nowhere in the original novels or movies and not built into the concept the way it is in, say, THE PHANTOM.
Yep, no need for the "B" this week.
The chains were causing pain, while his inability to speak--guessing why the men were there--kicked him over the edge.
Yes, right outside of the actual mission where this episode was shot.
Good point.
This week, no thanks to MeTV, we visit the last new episode of The Incredible Hulk to air in 1981, or in the show's longtime Friday night timeslot:
"Triangle"
Originally aired November 13, 1981
Events in the news the week that the episode aired:
At #1 for the second of two weeks:
"Private Eyes," Daryl Hall & John Oates
(Charted Aug. 29; #1 US the weeks of Nov. 7 and 14; #33 AC; #33 Rock; #32 UK)
New on the charts the week that the episode aired:
"Working for the Weekend," Loverboy
(#29 US; #2 Rock; song @ 2:23+)
"I Can't Go for That (No Can Do)," Daryl Hall & John Oates
(#1 US the week of Jan. 30, 1982; #12 AC; #1 Dance; #1 R&B; #28 Rock; #8 UK)
And poking into the long mid-season hiatus before the final two episodes:
New on the charts in those weeks:
"Shake It Up," The Cars
(Nov. 21; #4 US; #14 Dance; #2 Rock)
"Waiting on a Friend," The Rolling Stones
(Dec. 5; #13 US; #8 Rock; #50 UK)
_______
"Triangle"
Originally aired November 13, 1981
MeTV said:
Events in the news the week that the episode aired:
At #1 for the second of two weeks:
"Private Eyes," Daryl Hall & John Oates
(Charted Aug. 29; #1 US the weeks of Nov. 7 and 14; #33 AC; #33 Rock; #32 UK)
New on the charts the week that the episode aired:
"Working for the Weekend," Loverboy
(#29 US; #2 Rock; song @ 2:23+)
"I Can't Go for That (No Can Do)," Daryl Hall & John Oates
(#1 US the week of Jan. 30, 1982; #12 AC; #1 Dance; #1 R&B; #28 Rock; #8 UK)
And poking into the long mid-season hiatus before the final two episodes:
New on the charts in those weeks:
"Shake It Up," The Cars
(Nov. 21; #4 US; #14 Dance; #2 Rock)
"Waiting on a Friend," The Rolling Stones
(Dec. 5; #13 US; #8 Rock; #50 UK)
_______
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^^ That sort of commiserating would take a week's vacation these days.
Not a big fan of 80s Hall & Oates.
Not a great song, but fun and nostalgic. And Rock'n'Roll.
Not a big fan of... what, two of them?!
Not a big fan of the Cars. I know I'm supposed to like local bands, but I generally haven't.
Ah, this is really nice. The Stones may have been past their peak, but they still had it.
Yeah, it's a good one, even by the standards of their earlier work.
RJDiogenes said:
One single sitting at the top of the charts while their next chart-topper was making its debut...that's what you call being on a roll.
Yeah, and it went on for a few more years, too.
