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MeTV's SuperSci-Fi Saturday Night

Looks like my local MeTV affiliate is pre-empting Night Stalker for the local news-- they do that on Saturday night, too, but they just delay Svengoolie, they don't pre-empt him. Doesn't matter to me, since I have the DVDs, but they're losing some potential new fans.
 
Looks like my affiliate pre-empted Kolchak too, but fortunately I already binge-watched it on Netflix last month. So I'll post my thoughts here for the benefit of anyone who's interested.

Before beginning my rewatch of Kolchak: The Night Stalker, I watched the original pair of movies on YouTube -- lousy image quality, but the only versions I could find in the time available. The original The Night Stalker was pretty good, with excellent dialogue and fun character work, though its vampire stuff was pretty conventional and the villain had no personality or even any lines. I guess the main conflict was more Kolchak vs. the blinkered authorities than Kolchak vs. the vampire. I can see now why this series is considered an inspiration for The X-Files -- it’s not just the monsters, it’s the lone hero’s fight against the official cover-ups. Although “hero” may be the wrong word for Kolchak. In some ways, he’s his own worst enemy. He might have gotten more cooperation from the authorities if he hadn’t been so insulting and confrontational all the time.

The Night Strangler was pretty good too, but too much of a copy of the previous film. What are the odds, not only that Kolchak would randomly stumble across another immortal, supernatural killer, but that the nature of the crimes would be so similar? The use of the Seattle setting and the undercity was effective, although I did figure out that the more elaborate portions of the undercity in the third act were a fictionalized version thereof -- especially once I recognized part of it as the Bradbury Building in LA.

Opening the TV series with “The Ripper” just compounds the repetition even more. This is the third story in a row about Kolchak dealing with an immortal, super-strong serial killer who preys on young women in sexually oriented professions, and the second in a row where he kills the same number of women each time in periodic sprees. So far in the series, there have been at least 15 women killed, almost all sexy and young, and I think only two women rescued. This is not a very female-friendly world so far. All the protagonists and authority figures are male, and almost all the female characters are sexualized and existing to be either ogled or killed, except for the occasional eccentric old woman -- and poor Beatrice Colen here (Etta Candy from season 1 of Lynda Carter's Wonder Woman), who gets repeatedly body-shamed as “fat” even though she appears to be of fairly average build to me, and then gets killed off with barely an acknowledgment. I do hope there’s some improvement in the show’s treatment of women later on, though I’m aware this was pretty standard for horror stories of the era and some time after.

Anyway… Simon Oakland would’ve made a really good live-action Fred Flintstone, wouldn’t he?
 
Sharing the cover with ABBA...can't get much more '70s than that...! :lol:

Yeah...all you need is Travolta and Love Boat cast members to round out that late 70's vibe!

You have so much behind-the-scenes info at hand...I was hoping you might be able to weigh in on the question of the show's airing schedule in Season 5, which I'd brought up several days back. Did you catch that post?

I've seen some reports of the "why and how" of TIH's final S5 schedule, but I'm still looking into uncovering a solid CBS source.

Batman
"Fine Finny Fiends" / "Batman Makes the Scenes"

The final story of season one. Batman made the most explosive debut / phenomenon catapult of a superhero series in TV history, and retains its distinction to this day. CBS and NBC were caught between dismissing the series (early on) as a fad and trying to find anything that would crush the show. In the end, it was Dozier building on late season gimmicks, plus extending Greenway's resources with other series (The Green Hornet & The Tammy Grimes Show) & pilots (Dick Tracy & Wonder Woman AKA Who's Afraid of Diana Prince?) that robbed the focus on all that made Batman such a creative draw for most of season one.
Batman "Shoot a Crooked Arrow" / "Walk the Straight and Narrow" Originally aired September 8, 1966 (Now there's a noteworthy date!)

Unfortunately for Batman, September 8 was notable for the debut Star Trek (above all else) and the Ron Ely Tarzan instead of the show's 2nd season start with on of the worst villains created for the series..


"To the Batboat via Batmobile." So do they just leave the Batboat there at that pier when they're not using it?

It would seem so, unless there are crews employed to maintain the boat when not in use, sort of like the crews seen rolling the Batcopter out on the runway, or the Batmobile parachute recovery group.


[ETA: Also, according to Wiki, the film came out July 30, not during the fall. IMDb gives an October date, but specifies that it's for Italy.]

The movie was in the can and released before season two's debut. On that note, the most significant way season two benefited from the production of the movie was the creation of the 2nd Batcycle, the Batcopter, Batboat and the Nelson Riddle tracks "Filthy Criminals" and its reprise in "Attack" which would become the most used fight music of season two. Of the three new vehicles, only the Batcycle would make new appearances, unlike the other two, which were recycled (and unused) footage from the movie.

The reference to "imported California smog" seemed like a Hollywood in-joke.

By 1966, California's bad smog problem was already a national joke / cultural reference to the point even some visitors from other countries knew something about California's smog.
 
Yeah, my former Me affiliate used to preempt programming left and right. That's why I never bothered watching H&I on it, since I had an alternative H&I without all the preempting.

Anyway… Simon Oakland would’ve made a really good live-action Fred Flintstone, wouldn’t he?
Hey, some respect for General Moore!

It would seem so, unless there are crews employed to maintain the boat when not in use, sort of like the crews seen rolling the Batcopter out on the runway, or the Batmobile parachute recovery group.
I hope Bruce Wayne is footing the bill for all this crap! :lol:
 
Hey, some respect for General Moore!

Had to look that up. Keep in mind that I'm not familiar with Black Sheep Squadron.

And saying Oakland would be a good Fred Flintstone is hardly disrespectful, given that the role has been played in live action by two actors I admire immensely, John Goodman and Mark Addy.


I hope Bruce Wayne is footing the bill for all this crap! :lol:

Remember, Batman is a duly deputized officer of the GCPD. I assume the taxpayers are footing the bill, though I'm sure the Wayne Foundation donates generously to the police.
 
Leif Erickson
[Click for response.]

_______

This week, on The Incredible Hulk:

"Broken Image"
Originally aired January 4, 1980
Thanks to a look-alike criminal, David becomes a victim of mistaken identity, pursued both by the police and a vindictive gang.


Events in the news the week that the episode aired:
January 1 – Changes to the Swedish Act of Succession make Princess Victoria of Sweden first in line to the throne ("heir apparent") and therefore Crown Princess, ahead of her younger brother.
January 4 – U.S. President Jimmy Carter proclaims a grain embargo against the USSR with the support of the European Commission.


The first #1 single of the 1980s debuted on the charts back in August of '79:

"Please Don't Go," KC & The Sunshine Band
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(#1 US this week only; #27 AC; #3 UK)

Having some space to play with this week and next...a bit of retrospective business for the latter part of the closing decade. Had I been doing historical context posts from the beginning of the series, here's the first part of a very small sampling of numbers that would have gotten some attention...these four while covering the era of the pilots and early Season 1:

"Stayin' Alive," Bee Gees
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(Charted Dec. 10, 1977, a couple of weeks after the second pilot movie aired; #1 US the weeks of Feb. 4 through Feb. 25, 1978; #28 AC; #3 Dance; #4 R&B; #4 UK; #189 on Rolling Stone's 500 Greatest Songs of All Time)

"Anarchy in the U.K.," Sex Pistols
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(#53 on Rolling Stone's 500 Greatest Songs of All Time),
from Never Mind the Bollocks, Here's the Sex Pistols
(Album charted Dec. 10, 1977; #106 US; #1 UK)

"Flash Light," Parliament
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(Charted Feb. 11, 1978, about a month before "The Final Round" aired; #16 US; #1 R&B; #199 on Rolling Stone's 500 Greatest Songs of All Time)

"Watching the Detectives," Elvis Costello
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(Charted Mar. 25, 1978, the week that "Of Guilt, Models and Murder" aired; #108 US; #15 UK; #354 on Rolling Stone's 500 Greatest Songs of All Time)

To be continued next week....
 
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I'm still recovering from my last trip to the airlock. :rommie:

"Please Don't Go," KC & The Sunshine Band
A pleasant and atypical song from KC. I do like some of his Disco stuff.

"Stayin' Alive," Bee Gees
Back in the day, Saturday Night Fever was the crash and burn of the Bee Gees, but now it sounds like nostalgia to me. It's still pretty bad, but I don't turn it off when it comes on the radio-- I just sigh wistfully.

"Anarchy in the U.K.," Sex Pistols
The Sex Pistols are a funny joke. "God Save The Queen" is my favorite.

"Flash Light," Parliament
I have no recollection of this whatsoever.

"Watching the Detectives," Elvis Costello
This is one of those songs that amazes me by dating back to the 70s. It's an 80s song for me, one of many great ones by Elvis Costello.
 
Back in the day, Saturday Night Fever was the crash and burn of the Bee Gees
I assume you mean aesthetically...'cause if they crashed, it was into a bank...if they burned, it was through the vault door.

"God Save The Queen" is my favorite.
Also on the Rolling Stone list (#173); as is the Bee Gees' "How Deep Is Your Love" (#366), which spent three weeks straddling the New Year of 1978 at #1...both contenders for this week's short list.

A pleasant and atypical song from KC. I do like some of his Disco stuff.
Hmm, that's a surprise...but next week's one bit of new business is something that I already know you hate! :p (Well, that was my impression...looking back, you didn't actually say that you hated it...guess we'll find out....)
 
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The Incredible Hulk
"Broken Image"--

In a seedy hotel, gray-haired mob figure Mike Cassidy (a dead ringer for David Banner) rudely orders a hooker out of bed & the room. Cassidy grabs his bags and escapes via the fire escape, barely escaping two armed men searching for the criminal.

At another, similarly run down hotel (the Bothwell), David (as David Bowman) sweeps the hallways when he is mistaken for Cassidy by Teddy--the mobster's henchman. Teddy insists Cassidy has taken an assumed identity in order to avoid the killers searching for him, but is met with denial from Banner. Later, Teddy takes Cassidy to observe Banner..the mobster's wheels turn..

Teddy calls Lorraine--Cassidy's long-suffering girlfriend--to the hotel where Banner works, using the barely believable story that the mobster has changed his ill-tempered ways where she's concerned. Unbeknownst to Teddy, Lorraine seems to be romantically involved with Steve--leader of the men looking for Cassidy. Steve uses the call as his way of knowing if Cassidy has turned on him--and where he's hidden $100,000 dollars. Either way, he plans to kill the fugitive mobster. Elsewhere, Cassidy dyes his hair and shaves his moustache--now looking identical to David...

Arriving at David's room, Lorraine passionately kisses Banner, thinking the dark-haired man is Cassidy--reminding her of the man he used to be--

Lorraine: "I like what you've done."
David: "Thank you!"
Lorraine: "You look just like when we first met."
David: "I--uh...think that this is a mistake."
Lorraine: "That's the story of my life. Listen...I...I've thought about it all the way over here, and I want u to just take the money and we can just runaway--we can go anywhere...South America..anywhere..I don't care, as long as we're together!"
David: "I...I'm afraid you have the wrong person."
Lorraine: "That's what everyone's told me. But I know how I feel...and besides, who else would put up with your temper? Listen, Steve thinks that I'm--I'm still with him, but, uh...I really hate him, and when he touches me, I-- "
David: "Look, if you could tell me what this is all about--"
Lorraine: "Well, I've just been marking time until you called me...I knew you would...and underneath this tough shield that you wear, beats a very human heart. We can still run away, there's plenty of time, Mike...we can start all over!"
David: "My name's not Mike!"
Lorraine: "What're you talking about?"
David: "I just think you have me confused with somebody else!"
Lorraine: "Mike! I came over here because you asked me to! Mike, I love you!"
David: "I'm sorry."
Lorraine: "Why?!? Why the phone call?!?"
David: "What phone call?"
Lorraine: "From Teddy!"
David: "Who's Teddy?"
Lorraine: "WHAT THE HELL IS WRONG WITH YOU, MIKE?!?"
David: "Look--I don't know who Mike is, I don't know who Teddy is. I'm terribly flattered because you're a very attractive lady, but a mistake has been made!"
Lorraine: "You're right! You are so right! I TRUSTED you! That's my mistake! When you called, I thought that you had changed, but you haven't changed at all! You're still pushing me away--you're still the same...damn..."

Hurt, Lorraine bolts from David's room, leaving Banner in a state of confusion. The dejected woman returns to Steve and his men, and with lead on the location of the money, Steve prepares make his move...

The following day as David returns from shopping, Lorraine watches him from her car. He is also spotted by ., passing policemen thinking he is Cassidy and immediately chase David. Banner sneaks out of a back alley door, running into Lorraine. Driving away with her, David is grateful, but still denies he's Mike Cassidy--a fact falling on disbelieving ears when she pulls into Mel's Garage, and dumps him into the hands of Steven and his thugs,

It dawns on her that David is not Mike Cassidy, but her protests are rebuffed by Steve, who has his henchmen lock her in Steve's car after beating Banner enough to trigger a Hulk-out. On schedule, the enraged Hulk dispatches one henchman, and blocks the escape of Steve's car (with a toll booth). The criminal. The criminals abandon Lorraine and the car, running in absolute fear of the creature.

Hours later, Mike Cassidy informs Teddy that he's going to give half of the money to Steve (clearly to buy off the threat of death)--

Teddy: "Yeah, but half the money...who made up that law?"
Cassidy: "I thought it was a good idea. That way, they won't come looking for me after they've murdered me."
Teddy: "H-how you gonna do it, Mikey?"
Cassidy: "You're gonna plant it on Bowman."

Back at Mel's Garage, Jack McGee (already in town for other reasons) questions the toll booth employee, but the streetwise man claims he did not see anything....

The sarcastic, cold blooded Cassidy kicks the set-up in motion with a call to Lorraine--

Cassidy: "I want you give Steve a message for me."
Lorraine: "Where are you?"
Cassidy: "Are you kidding...I'm not gonna let you set me up."
Lorraine: "Mike, I came to see you, and there was this other man there...Mike who is he? God, I'm so confused!"
Cassidy: "Tell Steve I wanna see him."
Lorraine: "No! Mike, you've gotta get away--he doesn't want to talk to you anymore, he's going to try to kill you!"
Cassidy: "You're worried. How flattering."
Lorraine: "I'm an idiot. I admit it. I still love you, Mike. That's why I'd rather risk not seeing you again, than having you dead!"
Cassidy: "Watch your temper, Lorraine. You know how much trouble it gets you in."
Lorraine: "Why won't you listen to me?!?"
Cassidy: "Because honey, you bore me. You always have. I only keep you around for one reason, and frankly, that's lost all of its charm, so you just tell Steve I'll meet him at seven o'clock, tomorrow morning at the construction site. I'll have half the money with me. You got it?........Lorraine? Are you going to tell Steve for me?"
Lorraine: "You bet I will!!"

The heartbroken Lorraine catches her image in a mirror, then hurls the phone at it...just as Steve returns...

At the Bothwell, David cannot pack his bags fast enough; down the hall, a woman who ran into the Hulk earlier speaks to McGee about the creature, and tells the reporter to talk to the "new guy" empless, since he believes he sees everything. That "new guy" is none other than David Banner

David opens his door, preparing to leave and runs right into Jack McGee--

McGee: "Oh, my God....Banner....you're alive!"

The shocked men stare at each other for what seems to be an eternity--

McGee: "Doctor Banner, I'm Jack McGee!!"
David: "So!"
McGee: "I can't believe you're still alive!!"
David: "Which is more than I can say for you if you don't take your hand off my door!!"
McGee: "Banner!!"
David: "No--the name is Cassidy! Mike Cassidy and I don't think we have anything further to talk about--alright?!"

As this conflict boils, Teddy skulks around the hall, eavesdropping

McGee: "I think I understand why you're hiding out here--it has something to do with the Hulk, doesn't it??"
David: "I TOLD you--I don't know anything about this Banner character--now I was on my way outta here and you're BOTHERING ME!!"

Banner violently slams McGee against the wall--

McGee:
"I just want to talk to you for a couple of minutes!
David: "I TOLD YOU--YOU'RE BOTHERING ME!!!"

Teddy creeps in, picks up on Banner's ploy, and sells the idea that "Cassidy" is some sort of criminal--not Banner. Shaken & unsure, McGee takes the warning, leaving Teddy to work his end of Cassidy's plot against Banner by telling him Cassidy is sorry for the trouble their shared features caused, and is willing to pay for David's way out of town.Teddy offers Banner the chance for Mike to take care of McGee, but the tense Banner simply wants to leave, which will be possible..after he meets Cassidy face to face.

When the two meet, Banner is astonished at the resemblance...Cassidy stares, but maintains his icy demeanor--

Cassidy: "Strange, huh? I mean you read about this kind of thing, you know...Ripley's Believe it or Not."

David cautiously accepts Cassidy's offer for transportation out of the city. Meanwhile, Lorraine is conflicted over her relationship with Cassidy--her mind drifting to earlier times, and a recurring theme of verbal abuse--

Lorraine: "Mike, talk to me. You get up from bed, you make me feel cheap."
Cassidy: "Everytime I write you a check, I am reminded that you are anything but cheap."
Lorraine: "I never ask you for anything......please don't act like this."
Cassidy: "Like what?"
Lorraine: "Like you don't care. I know you better than anyone."
Cassidy: "That's right. I keep forgetting that you know the real me--"
Lorraine: "--I do--"
Cassidy: "--only you understand me...only you have the insight that can see beyond the tough guy exterior."
Lorraine: "Please don't be mean."
Cassidy: "Don't be mean. Why don't you stop wasting your limited intelligence trying to figure me out, and go take a good look at yourself. You're with me because I am mean. Because I don't care."
Lorraine: "No--that's not true--"
Cassidy: "It is true. And I'm not going to change. You don't want me to. You're a born victim."

Crying, Lorraine embraces Cassidy, but the man ignores her, returning is gaze to s newspaper. Lorraine sees this, but resigns herself to her place in his life.

Cassidy: "Good night."

Lorraine's thoughts focus on David--the image of Cassidy--and how Banner is the man she wanted Cassidy to be...but will not by choice. Reaching a conclusion, if not a life choice, she leaves her apartment.

At the construction site, Cassidy & Teddy give Banner $200, drop him off and pull away...only to conceal themselves behind a construction vehicle so they can observe the "death" of Mike Cassidy. As arranged, Steve and his henchmen emerge from the construction site trailer, subdue David, collect the money (planted on Banner), place him in a grave-sized foundation hole and pour cement over his body. The threat of imminent death triggers a Hulk-out--much to the shock of the observing Cassidy & Teddy. The Hulk rises from the cement, rips a bolted girder from the rest of the building frame and sends it flying into Steve's speeding car...just as Lorraine arrives with the police. As he is placed under arrest, Steve is perplexed by the sight of the handcuffed Cassidy--very much alive.

At the police station, as Cassidy is being interrogated, McGee flips through a file on the criminal, and is still unsure of the entire affair--

McGee: "Oh, I don't know...the man that I saw seemed different, somehow...he was...younger."
Police Sergeant: "He (referring to Mike Cassidy) dyed his hair. And he probably used tape here and here to pull back the skin. Makes a big difference."
McGee: "Well, then are you sure you got the right guy?"
Police Sergeant: "Mister McGee, Mike Cassidy has been thoroughly checked out--fingerprints, everything. The lieutenant has been personally looking for him for too long to make any mistakes."
McGee: "Can I interview him?"
Police Sergeant: "Get in line. Right now, he's giving us the lowdown on his cronies. Police departments in fourteen cities have their own beefs with him, and he'll probably serve fifteen years If he behaves himself."
McGee: "I don't know. Somehow, something about the whole thing just doesn't seem right."
Police Sergeant: "Mister McGee--the man you're looking for--this Dr. Banner is dead, right? Burned to death? You reporters are supposed to deal in facts. Well, while the doctor was being buried, Cassidy was doing time in San Quentin, it's all there in black and white. If I were you, I'd rather be fooled by an old con, than to start believing in ghosts."

Even with hard evidence sitting in front of his eyes, McGee remains stymied and disturbed. He is approached by a satisfied Lorraine--

Lorraine: "Hard to believe, isn't it?"
McGee: "I could have sworn they made a mistake."
Lorraine: "We all do, mister. Not this time. They've got the right man. Trust me."

Inside the interrogation room, Mike Cassidy is just as frustrated, failing to convince anyone about the existence of David Bowman--his mirror image.

Cassidy: "I swear to you, there's guy who looks just like me, now maybe he did it."
Officer: "Let me guess...your twin brother, right? Come on Cassidy. You can do better than that!"

Cassidy slaps the interrogation table, more frustrated than ever.

Somewhere else, David moves on.

NOTES:

This is not a cure-related episode.

David Bowman. All the episode needed was a character named Frank Poole and HAL...

Ah, the power of the teaser--I remember the preview for this episode, and true to the editor's skill. it seemed McGee finally caught Banner with no way out for the hero. On that note, though McGee is left fooled and/or confused by episode's end, this is the first time McGee has faced and addressed the real David Banner (IOW, not a near-miss, or as the bandaged "John Doe") since the night of the Culver Institute's Southwest Laboratory explosion in the pilot.

Banner slamming McGee against the wall was one of the biggest, crowd pleasing moments in Hulk history, as it was clear Banner's reaction was not just part of his ruse as Cassidy, but near-overwhelming feelings of persecution over three, trying years as a fugitive. All because of McGee.

It says much that David asks Cassidy to continue being "Cassidy" in the event McGee comes snooping around again. Knowing Cassidy is a criminal, David must (at least) assume that Cassidy might seriously hurt any reporter getting too close to his business--no matter how much McGee did not know.

The big takeaway from this episode is point made some months ago: McGee's confusion & suspicion is one thing, but all McGee really knows is that Mike Cassidy is a dead ringer for Banner, and when confronting Banner, Cassidy's henchmen stepped in to sell David as Cassidy. That, and the official record of Banner's fate does not leave much room to believe the real David Banner just so happened to live near his lookalike, get hustled into a fall guy scheme and is either sitting in custody, or slipped away. We the audience knows this to be true, but McGee does not have this information.

Moreover, for McGee to entertain a "Banner is alive" theory at this point would be divorced from hard evidence--fact--allegedly an "investigative reporter's" most important tool. All evidence works against believing Banner is alive. Point by point, Cassidy's men sell David to McGee as Cassidy--a man law enforcement conclusively identify through prints and other filed information. No other evidence--specifically tied to one David Banner--were found. To McGee, there can be no David, which means if he still holds on to the idea that he saw a dead man, he would just lend credence to the idea that his desperate obsession with Hulk has made him unstable--a plot that will be explored soon enough in the next episode, "Proof Positive."

The plot device of the "evil twin" / "evil impostor" / "evil clone" was not new to 1980 audiences, so as always, the success of the story falls to the strength of the actor portraying two sides of the same coin (at least in a visual sense). Bill Bixby was such a success, hitting this out of the park as the surly, calculating Mike Cassidy, a rare break in a career of (largely) playing good guys. His belittling treatment of women as ignorant, "pay for play" bedmates along with his ease of setting up an innocent man for death was the believable polar opposite of David Banner, with Bixby never bleeding the traits of one character over to another.

Lorraine was a woman living exactly as Cassidy described her--a victim. Women staying in abusive relationships--or getting away, yet still professing love for the abuser is not uncommon in real life, but it was gratifying to see her finally accept that there's no true love with Mike, overcome her damaged self esteem to judge Cassidy for what he was (as opposed to Banner) and bring him (and Steve) down.

GUEST CAST:


Karen Carlson (Lorraine) --
  • The Man from U.N.C.L.E. (NBC, 1967) - "The THRUSH Roulette Affair"
  • Buck Rogers in the 25th Century (NBC, 1979) - "Planet of the Slave Girls" -- co-starring Buster Crabbe, Jack Palance, Roddy McDowall and Robert (Voyage to the Bottom of the Sea) Dowdell
  • Teen Vamp (Jim McCollough Productions, 1988)
  • The Man Next Door (Jim McCollough Productions, 1997)
John Reilly (Steve) --
  • The Bionic Woman (NBC, 1977 / '78) - "Escape to Love" & "Long Live the King"
  • Wonder Woman (CBS, 1978) - "Skateboard Wiz"
  • The Powers of Matthew Star (NBC, 1982) - "Experiments"
  • Tales of the Gold Monkey (ABC, 1983) - "Boragora or Bust"
  • Wishman (Viacom Enterprises, 1983)
  • Whiz Kids (CBS, 1984) - "Father's Day"
  • Iron Man (Fox Kids, 1994-96) - recurring as Hawkeye / Clint Barton
  • Mortal Kombat: Conquest (Syndicated, 1998)
  • Fallout (Royal Oaks Entertainment, 1999)
Jed Mills (Teddy) --
  • Galactica 1980 (ABC, 1980) - "The Night the Cylons Landed: Part 1"
  • New Years' Evil (Golan-Globus Productions, 1980)
  • The Incredible Hulk (CBS, 1981) - "Bring Me the Head of the Hulk"
  • Conquest of the Earth (Universal, 1980) - (edited episodes from Galactica 1980)
  • Kiss Daddy Goodbye (Pendragon Film, 1981)
  • Whiz Kids (CBS, 1983) - "A Chip off the Old Block"
  • The Creature Wasn't Nice AKA Naked Space (Creature Features, 1983)
  • Amazing Stories (NBC, 1986) - "No Day at the Beach" & "Life on Death Row"
  • Twin Peaks (ABC, 1990) - "Episode 1.4" & "Episode 1.5"
  • Quantum Leap (NBC, 1991) - "Unchained - November 2, 1956"
Al White (Police Sargent)--
  • Wonder Woman (CBS, 1978) - "Stolen Faces"
  • A Fire in the Sky (NBC, 1978)
  • Airplane! (Paramount, 1980)
  • The Munsters' Revenge (NBC, 1981)
  • The Greatest American Hero (ABC, 1981) - "Reseda Rose" & "Operation Spoilsport"
  • Airplane II: The Sequel (Paramount, 1982)
  • Back to the Future Part II (Universal, 1989)
  • Tales from the Crypt (HBO, 1990) - "For Cryin' Out Loud"
  • Howling VI: The Freaks (Lionsgate, 1991)
  • Leprechaun 2 (Trimark, 1994)
  • Carnies (T.R. Productions, 2010)
 
Another premise that had something more going for it than the usual random wandering into somebody else's situation. Season 3 seems to really break out in that regard. Not that they didn't try to make the story about somebody else's situation...there was a little too much "Who gives a crap?" drama surrounding Lorraine padding out (and dragging down) the story.

when he is mistaken for Cassidy by Teddy
Huh...Teddy and Cassidy...didn't catch that.

Cassidy dyes his hair and shaves his moustache
(Washes that gray right out of his hair, takes off his false moustache....)

and dumps him into the hands of Steven and his thugs
"I'm telling you, you're making a big mistake." The delivery suggests that it's at least as much a warning to them as protesting about the mistaken identity.

who has his henchmen lock her in Steve's car after beating Banner enough to trigger a Hulk-out.
-30:38 (our earliest this season by 5 seconds). David's Hulked Out sooner for a lot less than the beating the hoods were giving him. And all three of them had to leave the room to handle the girl?

The shocked men stare at each other for what seems to be an eternity
More like a commercial break. :p

The threat of imminent death triggers a Hulk-out
-05:51. They missed a rare opportunity in the climax to have Bixby and Ferrigno onscreen together.

Somewhere else
the Big-Haired Lonely Man Back Double
moves on.


This is not a cure-related episode.
Officially categorized as Just Schlepping Around.

as it was clear Banner's reaction was not just part of his ruse as Cassidy, but near-overwhelming feelings of persecution over three, trying years as a fugitive. All because of McGee.
I think that's reaching a bit. David doesn't have that sort of temperament...even as the Hulk, he'll save McGee but not get aggressive with him.

It says much that David asks Cassidy to continue being "Cassidy" in the event McGee comes snooping around again. Knowing Cassidy is a criminal, David must (at least) assume that Cassidy might seriously hurt any reporter getting too close to his business--no matter how much McGee did not know.
Again, reaching. It's simply that he wants Cassidy to maintain his alibi, which includes pretending that they'd met before. If Cassidy were to tell McGee that there was another guy running around who looked just like him, that would cinch it in McGee's mind that David Banner's still alive.

The big takeaway from this episode is point made some months ago: McGee's confusion & suspicion is one thing, but all McGee really knows is that Mike Cassidy is a dead ringer for Banner, and when confronting Banner, Cassidy's henchmen stepped in to sell David as Cassidy. That, and the official record of Banner's fate does not leave much room to believe the real David Banner just so happened to live near his lookalike, get hustled into a fall guy scheme and is either sitting in custody, or slipped away. We the audience knows this to be true, but McGee does not have this information.

Moreover, for McGee to entertain a "Banner is alive" theory at this point would be divorced from hard evidence--fact--allegedly an "investigative reporter's" most important tool. All evidence works against believing Banner is alive. Point by point, Cassidy's men sell David to McGee as Cassidy--a man law enforcement conclusively identify through prints and other filed information. No other evidence--specifically tied to one David Banner--were found. To McGee, there can be no David, which means if he still holds on to the idea that he saw a dead man, he would just lend credence to the idea that his desperate obsession with Hulk has made him unstable--a plot that will be explored soon enough in the next episode, "Proof Positive."
This is liable to just go around in circles as it has before, but my feelings on the matter aren't about what McGee ultimately took away from the experience after it's been established that there is a Mike Cassidy. It's about what he was clearly thinking in these moments, and what he wasn't thinking:
McGee: "Doctor Banner, I'm Jack McGee!!"
David: "So!"
McGee: "I can't believe you're still alive!!"
David: "Which is more than I can say for you if you don't take your hand off my door!!"
McGee: "Banner!!"
David: "No--the name is Cassidy! Mike Cassidy and I don't think we have anything further to talk about--alright?!"

As this conflict boils, Teddy skulks around the hall, eavesdropping

McGee: "I think I understand why you're hiding out here--it has something to do with the Hulk, doesn't it??"
David: "I TOLD you--I don't know anything about this Banner character--now I was on my way outta here and you're BOTHERING ME!!"

Banner violently slams McGee against the wall--

McGee:
"I just want to talk to you for a couple of minutes!
David: "I TOLD YOU--YOU'RE BOTHERING ME!!!"
McGee sees what he initially has no reason to believe isn't David Banner, right in front of him. He persists in the belief that he's talking to Banner even after David starts to pretend that he's Mike Cassidy (whom McGee hadn't known about before this scene).

In those moments when he (correctly) believes he's talking to a surviving David Banner, it should all click for him. Banner's body was never found...there's a John Doe who turns into the Hulk...David matches the physical description of John Doe that McGee has been rolling off when investigating the Hulk...John Doe has medical skills and uses "David B." aliases. He even connects that Banner's survival has something to do with the Hulk...but he doesn't make what should be an overwhelmingly obvious connection.

And were he to have made that connection, it would be a lot harder to put that genie back in the bottle, even after McGee had learned of Mike Cassidy. It would be enough to give him a new and potentially very fruitful theory as to John Doe's true identity. Imagine the results he could have gotten when investigating Hulk sightings if, instead of rolling off John Doe's physical description, he'd waved around that big glossy headshot of Banner that he had in his file (used by Emerson Fletcher in "Interview with the Hulk"). "Have you seen this man?" The cat would be out of the bag really fast.

Next week: The show uses the names of two actual cities without bothering to check a map....
 
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“Broken Image”: I generally find exact doubles -- who not only look but sound exactly like the main characters -- to be a silly cliché in fiction, but this one pulls it off relatively well. Making Mike Cassidy older than David -- and slightly taller, in their split-screen scene -- helps a bit, but mainly what sells the premise is the remarkable job Bixby does of transforming himself from gentle, compassionate David into a chillingly cold sociopath. I complained in “Behind the Wheel” about how Bixby didn’t disguise his voice more in his scene with McGee, but maybe that was more the character’s limitation than the actor’s, since Bixby alters his voice quite well here with Cassidy’s deep growl. It’s interesting to note that when David pretends to be Mike to throw off McGee, he uses a totally different bad-guy characterization than the actual Mike, since of course David hasn’t yet met Mike at that point. This really is a bravura showing from Bixby.

And they’re still looking for more ways to give Bixby and Colvin scenes together -- this is their closest interaction since “Mystery Man,” and the first time they’ve really acted face-to-face since the pilot. But there’s at least one better encounter yet to come.

Not that the story doesn’t have its weak points, though. Was it really necessary for all three thugs to leave the room to escort one woman to a car, just so David could be alone to Hulk out? And if McGee had dug deeper, he probably could’ve found out that there was another guy who looked like Cassidy, and realized he’d been conned by the real David Banner. But I guess the guys who tried to kill David would’ve preferred not to tell anyone about that. And Lorraine probably wants to protect David, so she wouldn’t talk to McGee.


I think that's reaching a bit. David doesn't have that sort of temperament...even as the Hulk, he'll save McGee but not get aggressive with him.

Yes. As we'll see in a future confrontation between them, all David wants is to be left in peace.


In those moments when he (correctly) believes he's talking to a surviving David Banner, it should all click for him. Banner's body was never found...there's a John Doe who turns into the Hulk...David matches the physical description of John Doe that McGee has been rolling off when investigating the Hulk...John Doe has medical skills and uses "David B." aliases. He even connects that Banner's survival has something to do with the Hulk...but he doesn't make what should be an overwhelmingly obvious connection.

I figure there has to be some reason why McGee has a mental block that won't let him admit that possibility to himself. But I'm hard-pressed to think why.

Then again, there's my pet theory that the reason Lois Lane doesn't figure out that Clark Kent is Superman is because she assumes Superman would never be so dumb as to think he could disguise himself with a simple pair of glasses -- so Clark looks way too much like Superman to actually be Superman. So maybe McGee's thinking is along the same lines. A guy named David Banner would have to be an idiot at fake identities to keep using "David B." aliases everywhere he goes, right? So John Doe can't be Banner, because Banner was a scientist and too smart for that. Maybe John Doe was an assistant or patient that Banner experimented on, turning him into the Hulk, and he uses aliases evoking the late Dr. Banner as some sort of ironic acknowledgment of the author of his woe.

Really, though, as I've said before, I don't see that it would've changed the show that much if McGee had figured out that John was Banner. He wouldn't have been able to prove that Banner was alive any more than he could prove that the Hulk was real -- it would've just been one more wild claim, and one that would be potentially libelous to report without proof, so he probably wouldn't have been able to get it published. And if he'd known, it would've let the writers give Bixby and Colvin more scenes together without needing to contrive excuses for McGee not to see David's face.
 
I assume you mean aesthetically...'cause if they crashed, it was into a bank...if they burned, it was through the vault door.
I'd say that was about the height of their success, financially. But it was their early work that was the most artistically successful. It's like there are two different Bee Gees-- the 60s and everything that came after. Not that everything that came after was bad, though. "Jive Talking," "Edge of the Universe," and "Nights on Broadway" spring to mind.

Also on the Rolling Stone list (#173); as is the Bee Gees' "How Deep Is Your Love" (#366), which spent three weeks straddling the New Year of 1978 at #1...both contenders for this week's short list.
I can kind of see "God Save The Queen" being on there as the ultimate novelty song or something, but I can't see "Anarchy In The UK." Or "How Deep Is Your Love." Or a lot of other things. That list fails to impress me. :rommie:

Hmm, that's a surprise...
KC was around before Disco took over the airwaves and ruined Top 40, back in the days when there was variety on the radio. He just did fun stuff.

but next week's one bit of new business is something that I already know you hate! :p (Well, that was my impression...looking back, you didn't actually say that you hated it...guess we'll find out....)
I am intrigued. :rommie:
 
I can kind of see "God Save The Queen" being on there as the ultimate novelty song or something, but I can't see "Anarchy In The UK." Or "How Deep Is Your Love." Or a lot of other things. That list fails to impress me. :rommie:
The Sex Pistols weren't just a novelty act...
they are considered one of the most influential acts in the history of popular music, having initiated the punk movement in the United Kingdom, and inspired many later punk rock, thrash metal and alternative rock musicians.

As far as the list goes, the original 2004 version that I go by is a pretty solid piece of work. (They redid it in 2010, lopping out some entries by classic artists to put in more contemporary stuff.) I don't put too much stock in the numbers themselves, but in the presence of an act or song on the list. Exploring it broadened my musical horizons considerably. What they had to say about "Anarchy in the U.K." (from an archived version of the 2004 list):
This is what the beginning of a revolution sounds like: an explosion of punk-rock guitar noise and Johnny Rotten's evil cackle. The Sex Pistols set out to become a national scandal in the U.K., and they succeeded with their debut single. Jones made his guitar sound like a pub brawl, while Rotten snarled, spat, snickered and ended the song by urging his fans, "Get pissed/Destroy!" The Pistols' record label pulled the single and dropped the band, which just made them more notorious. "I don't understand it," Rotten said in 1977. "All we're trying to do is destroy everything."

What they had to say about "How Deep Is Your Love":
The first single from the Saturday Night Fever soundtrack was not a disco track but this slow jam. The Bee Gees' work for the film was recorded during a famed two-and-a-half-week-long session at a chateau in northern France, where, according to Barry Gibb, "six classic lesbian porno scenes [were] filmed."
Hmmm...admittedly not much to go on there, but it's a much stronger song to my ear than "Please Don't Go". :shrug:
 
Another premise that had something more going for it than the usual random wandering into somebody else's situation. Season 3 seems to really break out in that regard. Not that they didn't try to make the story about somebody else's situation...there was a little too much "Who gives a crap?" drama surrounding Lorraine padding out (and dragging down) the story.

Lorraine was the agent of change in the episode--without her,
  • David faced arrest from the police thinking he was Cassidy (and if they ran his prints, his life would come crashing down trying to explain why a legally dead man lives on)
  • Ended her cycle of abuse and the activity of Cassidy, Steve and their thugs.
Further, Cassidy's abusive treatment of women helped sell how despicable he was, supporting the drama.

Huh...Teddy and Cassidy...didn't catch that.

Possibly an unconfirmed tribute.


More like a commercial break. :p

Heh!


I think that's reaching a bit. David doesn't have that sort of temperament...even as the Hulk, he'll save McGee but not get aggressive with him.

Refer to "Mystery Man"--as he regains his memory and questions McGee, its clear he's sick of being hunted by this man--a man who made it his life's mission to capture/exploit the Hulk (his own words). Imagine if McGee never reported the death of Marks & Banner as being caused by the Hulk, pursued him or made it a regular Register article--one can argue Banner might be able to have more dedicated time to find a cure, because would not be a fugitive with a warrant for murder hanging over his other half. I doubt few would take all of that--caused by one man--in stride, thus his anger in the scene was more than the Cassidy ploy.


Again, reaching. It's simply that he wants Cassidy to maintain his alibi, which includes pretending that they'd met before. If Cassidy were to tell McGee that there was another guy running around who looked just like him, that would cinch it in McGee's mind that David Banner's still alive.

There's no reaching in asking a mobster to (considering his request) be less than kind to someone chasing you. Since Banner has no control over Cassidy, logically, he would believe the criminal would do whatever he wanted to McGee. Cassidy is a criminal and did not give Banner a guarantee of a certain kind of treatment. David was so edgy by the second half of this episode, that he appeared to want to do anything to stop McGee from ever running into him again.


This is liable to just go around in circles as it has before, but my feelings on the matter aren't about what McGee ultimately took away from the experience after it's been established that there is a Mike Cassidy. It's about what he was clearly thinking in these moments, and what he wasn't thinking:

McGee sees what he initially has no reason to believe isn't David Banner, right in front of him. He persists in the belief that he's talking to Banner even after David starts to pretend that he's Mike Cassidy (whom McGee hadn't known about before this scene).

In those moments when he (correctly) believes he's talking to a surviving David Banner, it should all click for him. Banner's body was never found...there's a John Doe who turns into the Hulk...David matches the physical description of John Doe that McGee has been rolling off when investigating the Hulk...John Doe has medical skills and uses "David B." aliases. He even connects that Banner's survival has something to do with the Hulk...but he doesn't make what should be an overwhelmingly obvious connection.

Place McGee in the real world--as stated by the sergeant, one can only deal with facts. The facts are that the expected investigation into the lab fire concluded Banner was not missing, but burned to death to a point where no remains were left. Not an rare outcome for a victim in the center of a raging chemical explosion/fire on the level seen in the pilot. Law enforcement's conclusion--which eyewitness McGee apparently accepted--was that Banner died. All the rational mind can do is theorize that a third party ("John Doe") was the subject of Banner & Marks' experiments, and emerged from the fire as the Hulk that night.

Next, you have to place McGee in the real world (again) in the Cassidy case; in reality, the long-used plot device of doubles and "evil twins" do not exist, at least with no frequency mirroring literature, film and TV, so to the real world, Banner passing himself off as Cassidy--later proven to be a real man--fits within accepted reality as opposed to conveniently placed doubles or living dead men who just so happened to live near an exact double.


Imagine the results he could have gotten when investigating Hulk sightings if, instead of rolling off John Doe's physical description, he'd waved around that big glossy headshot of Banner that he had in his file (used by Emerson Fletcher in "Interview with the Hulk"). "Have you seen this man?" The cat would be out of the bag really fast.

Then it really would be The Fugitive, and thanks to the Register reward, Banner would never have a moment's peace from fortune hunters, or worse--more Michael ("The Snare") Sutton types looking for the "kill of a lifetime." I would imagine David returning to his "Kindred Spirits" plan--isolating himself from society forever, and that ends the series.
 
I'd say that was about the height of their success, financially. But it was their early work that was the most artistically successful. It's like there are two different Bee Gees-- the 60s and everything that came after. Not that everything that came after was bad, though. "Jive Talking," "Edge of the Universe," and "Nights on Broadway" spring to mind.

Artistic success is--of course--subjective, but post 60s songs (and i'll add Saturday Night Fever) songs were not all ass-shaking crap. As you point out, "Nights on Broadway" was not bad, and I would argue "How Deep is Your Love" is a quality song. The key is to not allow the idiot media culture of grafting disco-era stereotypes to the songs, when their creation had nothing to do with that.


KC was around before Disco took over the airwaves and ruined Top 40, back in the days when there was variety on the radio. He just did fun stuff.

Agreed.
 
Lorraine was the agent of change in the episode--without her,
  • David faced arrest from the police thinking he was Cassidy (and if they ran his prints, his life would come crashing down trying to explain why a legally dead man lives on)
  • Ended her cycle of abuse and the activity of Cassidy, Steve and their thugs.
Further, Cassidy's abusive treatment of women helped sell how despicable he was, supporting the drama.
She played those roles because they wrote the story that way...and the same basic motivations could easily have been conveyed without, for example, devoting time to a flashback of her relationship with Cassidy. That was such obvious filler. Bottom line, I didn't find the character compelling enough to devote so much time to her POV.

I doubt few would take all of that--caused by one man--in stride, thus his anger in the scene was more than the Cassidy ploy.
I've always entertained the thought that on some level, Banner was enjoying the opportunity to rough McGee up a bit...but I don't see him having any truly malicious intent toward McGee in that scene.

There's no reaching in asking a mobster to (considering his request) be less than kind to someone chasing you. Since Banner has no control over Cassidy, logically, he would believe the criminal would do whatever he wanted to McGee. Cassidy is a criminal and did not give Banner a guarantee of a certain kind of treatment. David was so edgy by the second half of this episode, that he appeared to want to do anything to stop McGee from ever running into him again.
He wasn't sending Cassidy after McGee...he was asking Cassidy, if McGee came around asking questions, to act like he'd met McGee before. I don't see any reason to read anything more into it than that. If anything, David was being fairly naive in his scene with Cassidy (not smelling the trap).

Then it really would be The Fugitive, and thanks to the Register reward, Banner would never have a moment's peace from fortune hunters, or worse--more Michael ("The Snare") Sutton types looking for the "kill of a lifetime." I would imagine David returning to his "Kindred Spirits" plan--isolating himself from society forever, and that ends the series.
I wasn't suggesting that the series actually go that route...just extrapolating how things might have played out if they'd written McGee to be realistically smart.

Between McGee's blindness in situations like this, and the routine "out of sight, out of mind" factor when it comes to David's transformations, I can only speculate that he was passively manifesting some form of "Gamma Hypnosis," which placed suggestions in people's minds to keep them from linking David to the Hulk. :p
 
I've always entertained the thought that on some level, Banner was enjoying the opportunity to rough McGee up a bit...but I don't see him having any truly malicious intent toward McGee in that scene.

Yes. There was obviously a degree of frustration being released, but anyone who thinks that David Banner would ever wish violence or harm on another human being has not been paying attention. Remember, in "The Snare," the Hulk tried to save the guy who was hunting him down for sport and mourned when he died. The Hulk expresses David's unfiltered emotions, and David had every possible reason to hate this guy for hunting him like an animal and trying to murder him and just generally being a sadistic bastard. And yet his unfiltered emotion as expressed by the Hulk was compassion for the life of even his most ruthless, malevolent opponent ever. McGee was just a nuisance by comparison -- hunting him down, yes, but in a less extreme way, without actual violent intent. There's no way David would've ever actually wanted him to come to harm; indeed, David has acted purposefully to save McGee's life before, and will do so again.
 
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