MeTV's SuperSci-Fi Saturday Night

[The Old Mixer]

The song is more memorable for the behind the scenes drama leading to Jackson's emancipation than any creative merit.

Another one that elicits next-to-nothing in the way of recollections.

I remember the song from back in the day, but was a little lukewarm about it myself. It came down to that or "Don't Fall in Love with a Dreamer" by Kenny Rogers & Kim Carnes. Did I make the right choice...?

What a year: Ambrosia was one of the well embraced top 40 acts of the late 70s/early 80s, and even as a near total shift of music culture / producing already hit the industry, there was still a place for their kind of mature soft rock (later categorized as "adult contemporary."

Not a big Ambrosia fan.

As is usually the case for the first year or two of a decade, it was definitely a time of transition. I have a soft spot for late '70s-style soft rock myself.

An enduring classic of silliness (and a sexy video).

I'm not sure if anyone in the video was actually part of the group, as they seem to have been a studio band, but that appears to be the actual promo video for the song. There was a TopPop video that was higher-quality, but featured a group of stage dancers performing to the song, with a blonde lip-syncing the lyrics.

 

[RJDiogenes]

I remember the song from back in the day, but was a little lukewarm about it myself. It came down to that or "Don't Fall in Love with a Dreamer" by Kenny Rogers & Kim Carnes. Did I make the right choice...?

Well, I remember that one, but I didn't really care for it. Kenny Rogers did a couple of interesting things early in his career, but overall I'm not a fan.

As is usually the case for the first year or two of a decade, it was definitely a time of transition. I have a soft spot for late '70s-style soft rock myself.

Me, too. It's Ambrosia specifically that I don't care for. Just something about their sound.

I'm not sure if anyone in the video was actually part of the group, as they seem to have been a studio band, but that appears to be the actual promo video for the song. There was a TopPop video that was higher-quality, but featured a group of stage dancers performing to the song, with a blonde lip-syncing the lyrics.

Interesting. I didn't know any of that. You definitely made the right choice with this one.

 

[Christopher]

Hulk: “Nine Hours”: Another dull episode that I didn’t get very invested in at all -- the second of those in a row written by Nicholas Corea (after “Deathmask”). Between these two and “The Slam,” Corea’s work this season hasn’t been that impressive, aside from “Brainchild.” Marc Alaimo gave a fairly good performance as the drunk ex-cop given the chance to redeem himself, but mostly I found the stuff with David and his fellow tenants to be rather mawkish and the stuff with the mobsters to be lame and full of stereotypes. The first Hulk-out was again rather pointless and ineffectual, a common failing of this season. It wasn’t like the Hulk to be so unable to catch and stop an escaping car, especially since moments earlier he’d somehow had the ability to track its movement from underground. (I assume he was supposed to be following the sound of the receding car, which might be doable from a sewer, I guess, but how did he know it was the right car?)

 

[The Old Mixer]

It's Ambrosia specifically that I don't care for. Just something about their sound.

So...that's how much you feel?

_______

Another dull episode that I didn’t get very invested in at all

I found this one to be completely unmemorable...possibly one that I missed first-run, though I must have seen it at least once in syndication prior to this.

Marc Alaimo gave a fairly good performance as the drunk ex-cop given the chance to redeem himself

Not playing a villain for once! I thought he did a pretty good job when his character started getting back in the zone after the kidnapping.

mostly I found the stuff with David

Breck

and his fellow tenants

...including Sheila Larken, formerly of "The Waterfront Story"...

to be rather mawkish and the stuff with the mobsters to be lame and full of stereotypes.

We'd seem to concur on this. I'm vague on the specifics at this point, but...

Unusually bumbly main villains?

The first Hulk-out was again rather pointless and ineffectual, a common failing of this season. It wasn’t like the Hulk to be so unable to catch and stop an escaping car, especially since moments earlier he’d somehow had the ability to track its movement from underground. (I assume he was supposed to be following the sound of the receding car, which might be doable from a sewer, I guess, but how did he know it was the right car?)

I'll agree that it was contrived, but it did give us an unusual dramatic beat--that of the Hulk raging at the city around him in frustration for failing to stop the kidnapping. Usually ineffectual FHO's are failures because he gets tired and changes back too soon without having accomplished anything. But we don't typically see the Hulk truly fail at a task while remaining the Hulk. That moment of frustration gave me a strong comics Hulk vibe.

As for the SHO...we've got a new series latest at -03:23! Guess David doesn't have as much to do at the end when Marc Alaimo gets the girl, save to walk off in an episode-specific Lonely Man sequence.

Other bits of David Business (See what I did there?):

• I'm counting this one as Paying Lip Service (figuratively speaking) to Cure-Related Activities, as we see David sitting over books, a notebook, and a calculator. Discerning Hulk fans would be expected to know that he's not just working on the mysteries of science for shits and giggles.
• David pushing oxygen tanks in a hospital seems a bit soon after "The Psychic". Guess he got a job idea out of it.
• Bixby clearly liked doing his John Wayne impression.

 

[Christopher]

I'll agree that it was contrived, but it did give us an unusual dramatic beat--that of the Hulk raging at the city around him in frustration for failing to stop the kidnapping. Usually ineffectual FHO's are failures because he gets tired and changes back too soon without having accomplished anything. But we don't typically see the Hulk truly fail at a task while remaining the Hulk. That moment of frustration gave me a strong comics Hulk vibe.

I just don't buy the circumstances of the failure, though. He's never had this much trouble stopping a car before. It should've been simple for him. There are better ways it could've been justified. Like, say, the villains' reckless driving as they flee from the Hulk causes an accident and the Hulk has to save a trapped motorist from a burning car, and that lets the kidnappers get away. Sure, a bit of a cliche, but more plausible than having the Hulk just be arbitrarily ineffectual.

 

[The Old Mixer]

I wouldn't argue with any of that. It was a memorable moment bought with a crappy setup.

 

[TREK_GOD_1]

The Incredible Hulk
"Nine Hours"--

Ailing, elderly mobster Sam Monte just so happens to be under medical care at Kingsbridge Hospital--where David Breck works; under Federal protection and occupying an entire wing for himself, his presence is not welcome--especially to nurse Grasso. As David dumps the hospital trash around his usual 2 A.M. schedule, he is carefully observed by Fats & Slick--two former associates from Monte's crime family...

At David's apartment building, he is greeted by friendly neighbor / divorcee Rhonda Wilkes, her son Timmy (who had become close to David) and former police officer--now alcoholic--Jo Lo Franco. As Timmy walks to school, the rival gangsters watch his every move--linking his schedule to David's. Depressed over his absentee father, Timmy spends time with David, inviting him to his birthday party; Lo Franco (after mocking Timmy while drunk) asks David to give the child a gift as an act of reconciliation--refusing David's invitation to join the affair. David mentions a security guard opening at the hospital, but Lo Franco turns that down too, calling himself a "chicken cop."

Outside, the mobsters coordinate David's 2 A.M. schedule with two killers; at the hospital, David tends to Sam Monte--still getting a nasty attitude from nurse Grasso--

Grasso: "An Al Capone--a criminal! We open a whole wing just to take care of him. I don't know what this country's coming to."

provides an explanation for her behavior and his personal transformation--

Monte: "Mrs. Grasso, the nurse. I understand why she don't like me. She's Italian, see? And men like me have given the Italians in this country a bad name. Its the truth--I admit it. But now--uh--I'm turning, you know?"
David: "I'm sorry, I don't understand."
Monte: "The Feds. I'm clearing some things up with the Feds. I'm turning around. Since this stroke laid me out, I've seen the light. It was a very heavy, serious situation. I was down on my face. I was hearing angel wings fluttering in my ears, you know? A weird sound. Death like flapping wings. Flapping. Cold as ice. I sort of ended up an invalid. Weeks...months on my back. Bored stiff, I took to reading and pretty soon, what do you know? Old Smart Money Monte is getting into philosophy. And back to religion."
David: (pleased with Monte's positive journey) "Hmm. Well, traumatic illness often helps us to focus on things."
Monte: "Hey, now. What's this? $50 words from a $3.50 an hour mechanic? A fix-it man? Or maybe you're another kind of mechanic, huh?"
David: "Hmm?"
Monte: "An assassin. Oh no. No, no. Not you, not you. D. Breck--you're just not the type. You haven't uh...There's nothing savage in you. I know, I can tell. People are my business. What they like...how they'll react."
David: "What if you're wrong?"
Monte: "Then I pay. Like everybody else."

Lo Franco takes David up on his tip about a hospital security job, but the ex-homicide detective runs into Captain Deeter--the head of hospital security (also a former cop from the same precinct & period as Lo Franco) who accuses of him cowardice, and the death of a fellow officer. Obviously, Deeter refuses to hire Lo Franco. Later, David tries to lift the man's spirits, but Lo Franco confirms Deeter's accusation: Lo Franco froze while his partner & best friend was crying for help--and being killed.

The following day, David tries to stop Lo Franco from drinking his sorrows away but is called into action when Timmy is kidnaped by the mobsters plotting against Monte; David chases after the criminals on foot, but if struck by a car, rolls into an open manhole, and transforms into the Hulk. While the criminals work their way out of traffic, the Hulk tracks them, rising from another manhole just ahead of the criminals. The creature throws a punch at the car, but it speeds away.

The plot thickens as David receives a call from the criminals, ordering him to open the hospital doors at 2 A.M., in exchange for Timmy's release; understandably, Rhonda is hysterical, and Lo Franco suspects the kidnappers could not be drug seeking (not enough of a score in the on-site pharmacy). David believes Monte might be the target--learning the "who and why" of Monte, Lo Franco all but confirms David's theory. After convincing Rhonda to follow the kidnappers' orders (contacting the police above all else), David & Lo Franco roust Fats about their plot; Lo Franco--betting on his experience of knowing what kind of men they're dealing with--insists that rescuing Timmy is the priority, even at the expense of Monte's life. Driving to the Cleo Theatre (where Timmy is being held), the ex-cop rescues the boy by force...

At the hospital, David--never settled on allowing Monte to be killed--creates as many obstacles as possible (blocking hallways with racks/machines, pouring cleaner on the floors, etc.). With help from nurse Grasso, Monte is moved to another room;. David tries to attack the would-be killers, but is shot while running away. Monte--fearful over the commotion, causes enough noise to draw the killers to his room...as David goes green. Nurse Grasso puts up a fight, but it takes the Hulk to knock the criminals around...and out. Monte and Grasso barely believe what they've witnessed.

As usual, David is ready to leave town, despite the wishes of Timmy. Now on the road to sobriety, Joe, Rhond & Timmy might see some sort of future together.

NOTES:

This is not a cure-related episode.

Jack McGee does not appear in this episode.

Never a fan of scene swiping, "Nine Hours" applied double-sided tape to The Godfather's scene of Michael Corleone maneuvering his recovering father to another room to protect him from a planned hit. While this season's "The Snare" was inspired by The Most Dangerous Game to a greater degree, the screenplay worked as more than some referenced plot thanks to playing to the strengths of two top-shelf actors believably dueling with their wits--placing near saintly, ever-hunted David as the quarry having to rely on David--not the Hulk. Thankfully, this episode's similarities end with bed-moving the mob boss, since Monte was undergoing a complete change of character--unlike Vito, who was still willing to do morally bankrupt things in order to protect his family.

Once again, the studio's back catalog is put into service with the grave-robbing scene from Frankenstein Meets the Wolf Man (Universal, 1943)--the second time a scene was used from that movie.

GUEST CAST:

Shelia Larken (Rhonda Wilkes) returns to TIH; her first appearance was the season one finale, "The Waterfront Story." Not too many fantasy appearances, but she worked with Bixby before--in "No Way Out," the series finale of Quinn Martin's short-lived fantasy anthology series Tales of the Unexpected. Larken also appeared in two episodes of another anthology --Circle of Fear .

Marc Alaimo (Lo Franco) previously appeared in TIH's "Alice in Discoland", and "The Slam." "Nine Hours" was his third and final appearance on the series. Other fantasy roles include 1977 episodes of The Hardy Boys / Nancy Drew Mysteries, The Six Million Dollar Man (the "Sharks" 2-parter), and The Bionic Woman ("African Connection"). Like several TIH guest stars, he dropped in on another CBS superhero--Wonder Woman in the 2-part "Phantom of the Roller Coaster" from 1979. Clearly, he's best known for his numerous appearances on the Rick Berman Star Trek series, most notably as Gul Dukat in 35 episodes of Star Trek: Deep Space Nine.

Frank DeKova (Monte) career was (more or less) bookended by fantasy TV; this TIH appearance was one the last roles of his life (d. 1981), and his first TV role was in the original Dick Tracy series (ABC, 1950-52). That said, there's no denying he was best known for his role as Chief Wild Eagle on the Old West / frontier-themed sitcom F-Troop (ABC, 1965-67). Other fantasy roles--

• The Lone Ranger (ABC, 1956)
• Teenage Caveman (AIP, 1958) - with Robert Vaughn
• Atlantis, the Lost Continent (MGM, 1961)
• Thriller (NBC, 1962) - "La Strega"
• Alfred Hitchcock Presents (CBS/NBC, 1959 & 1962) - "A Personal Matter" & "Strange Miracle"

 

[Christopher]

For what it's worth, I did often feel while watching the show that the Hulk had it too easy, almost never facing a situation that posed any real challenge for his abilities. It actually would've been nice to see him fail more often, or at least face challenges where we could believe he might fail. The biplane climax in "Homecoming" was a rare example. But presenting him with a minor, routine challenge and having him arbitrarily fail just to advance the plot doesn't cut it.

I guess that was the drawback of going for a grounded approach, with the Hulk usually being the only fantasy/sci-fi element. It meant there was almost nothing that could pose any real obstacle for the Hulk once he arrived. If TIH had done things the same way as its contemporary superhero shows, then the Hulk would've periodically gone up against mad scientists, robots, aliens, and sorcerors that would've offered more of a challenge to his powers. Sure, the goal of the show was to be more of a psychological drama, and it did terrific things when it approached the Hulk as a source of angst for David, like in "The Psychic," but that clashed with the network-formula demand for an action show where the superhero always saved the day. It would also have been interesting to see more situations where becoming the Hulk actually made matters worse instead of fixing them. The show was stuck trying to have it both ways, defining the Hulk as a nominal problem yet almost always having him be the solution instead.

 

[TREK_GOD_1]

I'll agree that it was contrived

The CW DC series are performing cartwheels and saying hi.

but it did give us an unusual dramatic beat--that of the Hulk raging at the city around him in frustration for failing to stop the kidnapping. Usually ineffectual FHO's are failures because he gets tired and changes back too soon without having accomplished anything. But we don't typically see the Hulk truly fail at a task while remaining the Hulk. That moment of frustration gave me a strong comics Hulk vibe.

The nature and purpose of Hulk-outs are not always about accomplishing something--its as often an emotional reaction to something not connected to the main problem.

As for the SHO...we've got a new series latest at -03:23! Guess David doesn't have as much to do at the end when Marc Alaimo gets the girl, save to walk off in an episode-specific Lonely Man sequence.

David's purpose was served in rescuing Monte. The domestic situation was not his to manage or resolve that fell to Lo Franco.

I'm counting this one as Paying Lip Service (figuratively speaking) to Cure-Related Activities, as we see David sitting over books, a notebook, and a calculator. Discerning Hulk fans would be expected to know that he's not just working on the mysteries of science for shits and giggles.

Still so minor, its not of any real significance to the overall series sub-pot of David seeking a cure.

 

[publiusr]

I guess that was the drawback of going for a grounded approach, with the Hulk usually being the only fantasy/sci-fi element. It meant there was almost nothing that could pose any real obstacle for the Hulk once he arrived. If TIH had done things the same way as its contemporary superhero shows, then the Hulk would've periodically gone up against mad scientists, robots, aliens.

Now, I could see a cross-over between the Hulk and the Six Million Dollar Man. A bionic punch could hurt the Hulk before we see Steve sent flying--or an encounter with the Venus probe or fembots. Or a healthy Richard Kiel as Bigfoot, say.

Hulk: “Equinox”: Wow. This was great. .

I've always love the concept of all Hell breaking loose at a masque. Chaosiums' "Tatterdemalion", Poe's own take that started it all (perhaps).

I’m starting to feel this is the kind of older show where every episode is pretty much in its own separate parallel reality -- given how the timeline jumps around and the police captain is a different person every week. Plus, there’s the implausibility that one guy would keep stumbling upon supernatural crimes 20 times in a year,

That could have been answered if "The Devil's Platform" was the final episode, with Satan behind all the strange going's on.

“The Energy Eater”: Another unusual monster, this time an invisible one (which saves money).

As close to HPL as this show ever got--well..more like Cyaegha http://zinewiki.com/Cyaegha

 

[The Old Mixer]

Batman
"Marsha, Queen of Diamonds"

Originally aired November 23, 1966​

"Marsha's Scheme of Diamonds"

Originally aired November 24, 1966
​

The GCPD is more inept than usual in the first part. First the officers blindly allow Chief O'Hara to commit a crime in front of them, then Gordon walks into Marsha's trap without an escort.

West is entertainingly OTT when he's fighting off the love potion.

Find out tomorrow whether she misses...or Mrs.!!

This is, I think, the first time the cliffhanger hasn't put Batman and/or Robin in mortal peril.

Well, there was the one that put Aunt Harriet in mortal peril. This sequence also brings up the question of whether Bruce can legally marry anyone as Batman...but a superhero marrying in their costumed identity was a standard trope in at least the Superman comics of the time, especially in imaginary stories.

Note that when Alfred ran off with Batman, they literally left Aunt Harriet stranded at the altar.

And if Marsha really wanted to know where the Batcave was, she could have just unmasked Robin.

And what a coincidence that Batman and Robin are installing a new Batdiamond just when the Queen of Diamonds is in town!

What the heck does a giant diamond have to do with powering a computer anyway? And while it occupies a conspicuous spot in the Batcave for the purposes of this story, I assume that we never see it again.

 

[Christopher]

Well, there was the one that put Aunt Harriet in mortal peril. This sequence also brings up the question of whether Bruce can legally marry anyone as Batman...but a superhero marrying in their costumed identity was a standard trope in at least the Superman comics of the time, especially in imaginary stories.

We know from other episodes that Batman could legally testify in court and even prosecute a trial as Batman. And he's a duly deputized officer of the GCPD under the name Batman.

By the way, I just read the 1941 story where that relationship was established, in the new collection Batman: The Golden Age Vol. 2. It's at the end of a story called "The People vs. the Batman" (originally from Batman #7), in which the villains frame Bruce Wayne for murder -- and then separately frame Batman for an attempt on the life of the one witness who could clear Bruce. When Batman catches the real culprit and drags him into the courtroom (where Bruce is apparently about to be convicted in absentia due to his escape from prison), Commissioner Gordon vouches for him and makes an impassioned speech about his heroism (even though we've never really seen any Gordon-Batman interaction before now, just Gordon inexplicably letting his layabout friend Bruce Wayne tag along to crime scenes), then declares Batman an honorary member of the police department, promising to work hand-in-hand with him from now on. I don't think that quite the same as being "duly deputized," but it's the same idea.

Note that when Alfred ran off with Batman, they literally left Aunt Harriet stranded at the altar.

I'm sure she was fine, thanks to Gotham City's first-rate public transit system.

What the heck does a giant diamond have to do with powering a computer anyway?

What does a dilithium crystal have to do with powering a starship?

Hmm... If doped with the proper impurities, a diamond could be a semiconductor and serve as part of the circuitry. Or maybe it's the James Bond approach -- the diamond serves at the focusing lens for a powerful laser.

Or, more simply, since it is made of carbon, you could just burn it for power...

And while it occupies a conspicuous spot in the Batcave for the purposes of this story, I assume that we never see it again.

I always figured that the assembly was usually stowed away somewhere out of sight, like maybe under the floor.

 

[The Old Mixer]

By the way, I just read the 1941 story where that relationship was established, in the new collection Batman: The Golden Age Vol. 2. It's at the end of a story called "The People vs. the Batman," in which the villains frame Bruce Wayne for murder -- and then separately frame Batman for an attempt on the life of the one witness who could clear Bruce. When Batman catches the real culprit and drags him into the courtroom (where Bruce is apparently about to be convicted in absentia due to his escape from prison), Commissioner Gordon vouches for him and makes an impassioned speech about his heroism (even though we've never really seen any Gordon-Batman interaction before now, just Gordon inexplicably letting his layabout friend Bruce Wayne tag along to crime scenes), then declares Batman an honorary member of the police department, promising to work hand-in-hand with him from now on. I don't think that quite the same as being "duly deputized," but it's the same idea.

I had a digest comic when I was a kid that reprinted that one...though my memory had gotten vague on the details.

 

[Christopher]

It's interesting to see how much of the familiar Batman formula we know from the TV show was already in place by the end of 1941 -- Gotham City, the Batmobile, the nickname "Dynamic Duo," the playful banter and punning between Batman and Robin (one element the TV show didn't use), the no-guns policy, the cooperation with the police, etc. By the time Pearl Harbor happens, we're only missing a few key elements like Alfred, the Batcave (a creation of the '43 serial), and the Bat-signal. There's this popular misconception today that Batman was a pulpy, violent, gun-toting loner until the Comics Code was established in '54, but in fact that characterization lasted no more than a year. The tone of the comics in the '40s is somewhat more serious than it would be in the post-Code '50s and early '60s, but the characters and formula are pretty much the same. It's just that the cases they took on post-Code were less about murder, mayhem, and violence and more about colorful gimmick crimes, weird inventions, aliens, etc. Although there were still only a few recurring villains established by this point -- Hugo Strange, the Joker, the Cat-Woman [sic], the Basil Karlo Clayface, and the Scarecrow.

 

[The Old Mixer]

By "this point," do you mean 1941 or post-Code / 1954?

 

[Christopher]

By "this point," do you mean 1941 or post-Code / 1954?

Sorry, I mean by '41, specifically the end of the Golden Age Vol. 2 collection. In fact, it looks like Penguin debuted in the very next issue after that. Two-Face appeared in 1942, the Riddler and the Mad Hatter debuted in '48, and Killer Moth started out in '51. So the Rogues' Gallery was pretty well-established by the time the Code came along.

 

[TREK_GOD_1]

Batman
"Marsha, Queen of Diamonds"

Originally aired November 23, 1966​

"Marsha's Scheme of Diamonds"

Originally aired November 24, 1966
​

The GCPD is more inept than usual in the first part. First the officers blindly allow Chief O'Hara to commit a crime in front of them, then Gordon walks into Marsha's trap without an escort.

Always the sign of a series with no one at the controls: characters being stupid in order to move the so-called plot forward.

Well, there was the one that put Aunt Harriet in mortal peril. This sequence also brings up the question of whether Bruce can legally marry anyone as Batman...but a superhero marrying in their costumed identity was a standard trope in at least the Superman comics of the time, especially in imaginary stories.

Technically, he cannot marry anyone as marriage requires a marriage license which in turn requires legal identification, etc.--the opposite of a costumed alias. His status as a deputized officer of the law would have no bearing on all that is needed to marry.

Note that when Alfred ran off with Batman, they literally left Aunt Harriet stranded at the altar.

Anything to move the so-called plot forward.

And if Marsha really wanted to know where the Batcave was, she could have just unmasked Robin.

Would she recognize Dick Grayson? They cannot be so well known (outside of Gotham) that unmasking Robin would expose everything.

What the heck does a giant diamond have to do with powering a computer anyway?

Why would anyone need an atomic powered car when you obey the state speed limits?

And while it occupies a conspicuous spot in the Batcave for the purposes of this story, I assume that we never see it again.

I believe it appears in future episodes, but is not a plot element again.

 

[The Old Mixer]

Always the sign of a series with no one at the controls: characters being stupid in order to move the so-called plot forward.

It's not like the series ever portrayed them as being particularly competent.

 

[TREK_GOD_1]

It's not like the series ever portrayed them as being particularly competent.

Early on, Gordon was not the local idiot who lost his basic police skills. Screening most of the 1st season, he was generally sharp, serious and was not always befuddled by the villain's intro scheme as he's presented at this point in season 2. After a time, it was clear that as a series regular, Hamilton had to be involved to some degree, but the focus was just rushing to the villain-of-the-week's not too well-conceived cartoon plot, so it was easier to have Gordon (and O'Hara) just be stupid so they could be placed on the shelf (after the aforementioned focus) as quickly as possible.

 

[RJDiogenes]

^^ Well, they had probably started drinking heavily at that point.

So...that's how much you feel?

Yes. Practically nil. Definitely not the food of the gods for me.

That could have been answered if "The Devil's Platform" was the final episode, with Satan behind all the strange going's on.

Back in the 70s, when I was making up Night Stalker plots for fun, I had one where we learned (but Kolchak didn't) that it was all about karma from a past life.