The Classic/Retro Pop Culture Thread

Discussion in 'TV & Media' started by The Old Mixer, Jan 11, 2016.

  1. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut

    50th Anniversary Viewing


    The Ed Sullivan Show
    Season 22, episode 25
    Originally aired March 22, 1970
    As represented in The Best of the Ed Sullivan Show

    Before the performance, Ed goes over to Liberace to admire his fur coat and tries it on himself.
    Liberace proceeds to deliver a muzaky instrumental rendition of "Raindrops Keep Fallin' on My Head," accompanied by a likely pre-recorded orchestra. says that he also did "The Impossible Dream," but somebody probably got their notes confused, as those two are listed as being part of a medley with "Milwaukee's Most Famous Brew"...!

    Liza performs a song called "If I Were in Your Shoes," which sounds like a show tune. After the song, Ed brings her over and congratulates her for being nominated for an Academy Award for her starring role in the 1969 film The Sterile Cuckoo.

    Schweitzer starts with some trickery using the usual balls...then he does the thing with three cigar boxes where he keeps the middle one in the air while moving around the other two...which doesn't look that impressive up to a point, and he even accidentally tosses one of the boxes across the stage during his finale.

    Apparently the song was from the 1969 film The Prime of Miss Jean Brodie. McKuen brings some character to his performance that I wasn't getting from the "Oliver" single.

    Also in the original episode according to

    Mission: Impossible
    "The Choice"
    Originally aired March 22, 1970
    Vautrain has an interest in horror and illusion, so Jim puts on a public stage show in which he fake electrocutes Paris, who's made up to more strongly resemble Vautrain. Vautrain attends, and has his ally, police chief Colonel Benet (Alan Bergmann), inspect the electric chair. Oddly, Jim and Paris don't seem to let the audience in on the fact that they didn't just watch a man get killed.

    Jim and Paris are subsequently caught setting up a podium for electrocution at an opening of a peace exhibit that Vautrain will be attending in place of the duchess. Jim and Paris talk openly in the cell that they've confirmed is bugged of their fake plot to have Paris replace Vautrain and pull his electrocution-surviving stage trick (which involves wired gloves made to look like bare hands) in an attempt to awe Theresa, then persuade her to name First Minister Henri Picard (Arthur Franz)--a former flame who's become estranged due to Vautrain's influence--as her successor. Vautrain partially undisguises Paris to find he was groomed to even more closely resemble Vautrain underneath. Impressed with the idea and seeing an opportunity, Vautrain wants Jim to go through with the trick, but with the real Vautrain, to give him an excuse to have Picard executed.

    Barney and Willy take out Vautrain and police henchgoon Goujon (Sid Haig) backstage, and Paris replaces Vautrain as fake planned to pull the trick at the podium. Vautrain finds himself taken captive with Jim, escapes per IMF plan, and has a confrontation with Paris in Theresa's study with Picard and Benet present. This involves an IMF-rigged shooting attempt using a gun that Vautrain stole in his escape attempt and some planted squibs, such that Paris seems to miraculously survive Vautrain's shot. Vautrain runs out of the room, Paris calls security telling them that the man who looks like him is an impostor, and the sound of shots being fired is quickly heard from the study. Mission: Ac--wait, there's more. Then Fake Vautrain, maintaining his disguise, confesses to Theresa that he's been using tricks to influence her and that he plans to return to the sanctuary that he came from, and persuades her to put her trust in Picard and get rid of Benet. Picard takes Paris aside to thank him, having figured out that he isn't really Vautrain.

    Can't say this one has aged well, with the weak female ruler who's a figurehead for the right man.


    "All's Well That Ends"
    Originally aired March 26, 1970 (season finale)
    I'm pretty sure we've had at least one other story involving Ann's birthday...I wonder how this lines up airdate-wise with that one.

    Donald gets the tickets but pretends not to have, planning to spring it on Ann as a surprise. Ann's married-with-children friend of the week, Janie Downs (Mary Robin Redd), is visiting when Donald breaks the fake bad news via phone, so Ann offers to take care of the baby instead of going on what she thought would be a mundane birthday date with Donald. When Donald drops by to pick her up, she already has infant Bobby...who must be just about my age.

    Donald tries to sell the tickets back to the guy who just sold them to him, who haggles down the price. The baby potentially being sick doesn't come up until Ann and Donald are both watching him. Ann frets that it's the mumps and worries that she'll get them herself. They wind up getting ahold of the baby's doctor, who determines that there's nothing wrong with the child.

    Ann falls asleep on the couch and, during the commercial break, Donald stays up for when the Downses come back to pick up Bobby and puts her to bed. In the coda, Ann wakes up in her bed to find a note that Donald wrote for her while watching her sleep...meant to play as a purely romantic thing, but I can imagine how it would go over nowadays. :eek:

    And that's all for the penultimate season of That Girl. I'm currently recording Season 5 on Antenna, even though they're likely chopped to hell.

    "Oh, Donald" count: 17+ (I really should have been keeping track, because that may be a record)
    "Oh, Doctor" count: 1


    "Good Will Tour"
    Originally aired March 26, 1970
    It appears that I didn't get a recording of this one from Cozi for whatever reason. The top-billed guest was Bradford Dillman as the Prince.


    Hogan's Heroes
    "Klink's Escape"
    Originally aired March 27, 1970 (season finale)
    The underground station is of course Stalag 13. Burkhalter has security increased because of all the escapes in the area, making the tunnel unsafe to use; and Klink wants to locate the escape station for Burkhalter. Hogan plants an idea in Klink's head...indirectly, via allow the Stalag 13 prisoners to escape so that they can be tracked to the station. Thus Klink suddenly pulls out all the stops to encourage and enable the prisoners to attempt an escape. The prisoners play hard to get on the matter, acting as model inmates up to a point...even finding Schultz's rifle for him when he makes an obvious show of supposedly having lost it. Finally, they have a scripted conversation in front of a bugged ceiling lamp in which they vote to attempt an escape.

    They have another conversation via the lamp in which they further plant the idea of having Klink allow them to take him hostage, for reasons that I didn't catch. This scene is played as a split-screen pseudo-dialogue between Klink's office, where the prisoners are being listened to, and the prisoners talking into the lamp back in their barracks. Finally going through with their faux escape attempt, they take Klink's car to a railroad tunnel that they need to blow, then return it to the stalag, all while Klink sits in the car blindfolded. When Klink finds that he's back at Stalag 13, Hogan pretends that they've had a change of heart.



    "Log 114: The Hero"
    Originally aired March 28, 1970
    Reed and Malloy are on patrol when they see smoke, which leads them to a burning warehouse. There they see a young man (A Martinez) who was already on the scene running into the blaze. He carries out a watchman (John Steadman) just as the fire department arrives. At the hospital the officers learn that his name is Lauro Perez, but he's not very talkative. A detective (Harry Lauter) informs the officers that the fire department believes it was arson, but Perez isn't a suspect.

    Back on patrol, Reed is putting in a code seven when they're assigned to a 415, possible jumper. Proceeding to an apartment, they find a very drunk man (Jack Perkins) who's been leaning carelessly out a window. Back at the station, Mac has the officers accompany Lt. Chavez (Richard Angarola) from Community Relations, who wants to give Lauro a citation (the good kind), to the Perez home. Lauro's father (Natividad Vacío) and kid brother are very proud, but Lauro seems uncomfortable with the attention and ultimately walks out.

    After another call that involves Malloy giving CPR to a man with a heart condition, the officers return to the station to attend a press reception for Perez, who finds out that the police have arrested a suspect in the arson case. Reed and Malloy drive Lauro home, where Mr. Perez has them come in for a surprise party for his son, who acts sullen and talks privately with his girlfriend, Rita (Mina Vasquez). After leaving the officers return to the house to find out what's wrong with Lauro. Rita tells them that he was planning to see them and leads them to a church, where they find him praying and he confesses to having accidentally started the fire while trying to burglarize the warehouse for wedding money. Mr. Perez and Rita comfort him, emphasizing that he's still a hero.

    In the coda, Lt. Chavez promises to do everything he can to help Lauro, whom he feels did earn the citation, though he won't be getting it now. Back on patrol, Reed tries to call in another code seven and is told to respond to two calls. Yep, I think this is the beginning of their infamously bad code seven streak.

  2. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    I remember that. :rommie:

    He's a very sincere artist.

    It's a variation of the Rasputin story. Kind of funny that it involves a Nancy Reagan lookalike, though, since she was the power, or at least the brains, behind the Reagan throne.

    But, in fact, it was this mad doctor who infected the baby with his own laboratory-created virus. And the next morning, Ann does not wake up-- although she does get up.

    Romance is dead. :(

    Except maybe for the honeymoon episode.

    I never realized that Ivan Dixon escaped from the show.

    "Thirty days in the COOLER!"

    I have no idea where this plot is going.

    Two calls at once? The dispatcher is really messing with them. She must be one of Malloy's exes or something. :rommie:
  3. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut

    50th Anniversary Catch-Up Viewing


    The plan for this hiatus season is to "catch-up" on the 1968-69 and 1969-70 seasons of Dragnet and Hawaii Five-O...thus finishing the former and catching up the latter to the point where it can become regularly scheduled 50th anniversary viewing. But first I have a few odds and ends from the 1967-68 season of Dragnet, starting with two episodes from early that season that got preempted by my Cozi affiliate for last year's St. Patrick's Day parade...

    Dragnet 1968
    "The Bank Jobs"
    Originally aired October 5, 1967
    Tuesday, August 4 (last occurred in 1964): Friday and Gannon are working the day watch out of Robbery Division, Bank Detail, when they get a call about an early morning bank robbery involving a man and a woman. Kent McCord, listed as Officer Whitman, fills them in outside the bank. The detectives drive a witness, Dr. Lang (Herbert Anderson), around the area, and he spots the getaway car in a carport where it was ditched. They trace the registration to a Jana Altman (Kipp Hamilton), who matches the description of one of the robbers. She claims to have reported the car as stolen, but the detectives' suspicions are stoked when they find paperwork lying around indicating that she's a parolee.

    They take her downtown and question her with a policewoman present. She tells of how she was carjacked (before that was a word) by a man with a gun and forced to hold up the bank with her. He dropped her off afterward and took the car. She also reluctantly confesses to having a record for embezzlement in Oklahoma City. They suspect that her partner may be the gambler ex-husband for whom she was stealing, so they tail her for the next couple of days. Then they hear a radio call about another bank robbery involving a man and a woman, the latter of whom was found and said she was forced to do it.

    They talk to this woman, Angela Riplon (Marian Collier), at a bar. She describes how the man got into her car at a stoplight. Now having a pattern to go on, Bank Detail engages in a rolling stakeout of banks of the same branch. The next robbery by the "hostage bandit" occurs on August 14, following which they let Altman off the hook and give her a brief infodump of L.A. bank robbery statistics. The rolling stakeouts continue until August 21, when they get a call about the next robbery. When they arrive, they find a woman beating up a man on the street in front of a crowd of onlookers. It turns out that she's the latest victim, but is also a karate instructor. They take the defeated bandit (Chris Alcaide) into custody.

    These recordings aren't recent enough in my buffer to get the screenshots via the Xfinity app.

    Art Gilmore makes one of several appearances as one of several superior officers, Captain Howe. Also, there's an officer named Sgt. Reed in this episode, but it's not McCord's character.


    Dragnet 1968
    "The Big Neighbor"
    Originally aired October 12, 1967
    Friday, December 14 (last occurred in 1962): Friday and Gannon, working the day watch out of Frauds Division, Bunco Section, are about to call it a day when a sailor comes in who was swindled by means of a fake party into letting somebody take his money, ostensibly down to the hotel safe. He confesses that it's not the first time he's fallen for this sort of trick. Gannon invites Friday over for dinner, but Friday insists that Gannon call his wife, Eileen, first. The boys won't be home, so Gannon's looking forward to a night of peace and quiet.

    Arriving at the Gannon home, Friday can't stop being a stick in the mud, pointing out that Gannon parked across his own driveway. Bill pesters Joe about various changes he's made to the house since the last time Friday visited, which Joe doesn't notice. At the table, Eileen (Randy Stuart) informs Bill and Joe that that a neighbor, Art Bonham, is planning to come over, because he has something he wants to talk to a policeman about, and would rather talk to Bill's superior.

    Bill and Joe are just sitting down to enjoy the game when the phone rings and Eileen informs Bill that a different neighbor, Marnie Prout, is about to come over. Marnie (Ann Morgan Guilbert) wants to talk to Bill, but wants Friday to hear what she has to say as well...which is that wants her husband to be arrested for throwing an egg timer at her. Joe informs her that she's got nothing to go on because he missed, and before she leaves, Bill advises that if she wants to press charges, next time she should let him hit her.

    Bill and Joe resume the game, having missed some important plays, when the doorbell rings. It's Art Bonham (John Nolan), who's there on behalf of the neighborhood about a series of citations that the residents have received for how they park their cars. Bill tries to cut things short by advising him to just pay his fine. Afterward, Bill describes to Joe how those neighbors who aren't friends are really strangers, but they all come to him because he's a cop, and if he doesn't listen to them, he'd be considered a bad neighbor.

    After a customary bit of Bill badgering Joe about getting married, they turn the sound back up just in time for the phone to ring. It's yet another neighbor, Ruth Walker, who says that somebody's trying to break into her house. Friday calls for a black and white, after which the detectives put on their jackets and proceed across the street, where they find a man working on one of the windows. They take him down quickly, and the uniformed officers promptly pop up...the one with lines being Kent McCord again! Ruth (Rhoda Williams) comes out to opine that they should advertise that a police officer lives in the neighborhood.

    Having missed most of the game, Friday and Gannon now have to go back downtown to book the burglar. As they get to Bill's car, they find a citation on the windshield. Bill objects, but Joe advises him to just pay the fine.

    This one's a memorably offbeat episode.

    Last edited: Apr 3, 2020
  4. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    So she reported the stolen car, but not the kidnapping and robbery.

    A predictable pattern that involves close-up eyewitnesses and lots of opportunity for leaving forensic evidence. There are better ways to meet women.

    This guy was not cut out for a life of crime.

    Can't a man do what he wants with his own driveway anymore?!

    What happened to that detective's eye for detail? :rommie:

    Is Friday Gannon's superior? I thought they were partners. Gannon is just a henchman?!

    What the hell? :rommie:

    So he advises them all to submit to spousal abuse, in the hopes that they'll all die and leave him alone.

    And moving to the suburbs, where he, too, can be pestered by neighbors.

    Now we're getting somewhere.

    He comments on how presentable they are.

    I'm not entirely convinced that humor is Dragnet's forte. :rommie:

    It's like an alternate universe sit-com version of the show. Friday Knows Best. Leave It To Friday. The Many Loves of Joe Friday. Pete & Gladys Get Reincarnated As Cops.

    This guy is like the Jango Fett of the LAPD. :rommie:
  5. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut
    55 Years Ago This Week

    Selections from Billboard's Hot 100 for the week:

    Leaving the chart:
    • "Come Home," The Dave Clark Five (9 weeks)
    • "Hurt So Bad," Little Anthony & The Imperials (9 weeks)
    • "I Can't Explain," The Who (2 weeks)
    • "People Get Ready," The Impressions (8 weeks)
    • "Stranger in Town," Del Shannon (6 weeks)
    • "This Diamond Ring," Gary Lewis & The Playboys (12 weeks)
    • "Yeh, Yeh," Georgie Fame & The Blue Flames (8 weeks)

    Recent and new on the chart:

    "We're Gonna Make It," Little Milton

    (Mar. 27; #25 US; #1 R&B)

    "Iko Iko," The Dixie Cups

    (Apr. 3; #20 US; #20 R&B; #23 UK)

    "It's Growing," The Temptations

    (Apr. 3; #18 US; #3 R&B; #45 UK)

    "It's Not Unusual," Tom Jones

    (#10 US; #3 AC; #26 R&B; #1 UK)

    "Just Once in My Life," The Righteous Brothers

    (#9 US; #26 R&B)

    And new on the boob tube:
    • Branded, "The First Kill"
    • 12 O'Clock High, "The Cry of Fallen Birds"
    • Gilligan's Island, "They're Off and Running"


    She was hiding the truth because she was a parolee who'd just robbed a bank.

    Senior partner. Bill is Officer Gannon; Joe is Sgt. Friday.

    Joe explains how just firing a gun at somebody is a felony, but throwing an egg timer isn't.

    More or less.

    I guess you'd have to see it. It's perfectly in line with the usual lighthearted, bantery moments between Friday and Gannon, just an entire episode of that.

    I thought Star Wars wasn't your bag.
  6. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    I'm pretty sure I've never heard this. Not bad.

    I like this song. I'm not sure if I've heard this version. I think I know it mainly from the first Cindy Lauper album.

    Not their best, but maybe it will grow on me.

    It's not good, but it's not bad, which, for Tom Jones, is not unusual.


    Yeah, but she just made herself look guilty. She kinda musta knew that witnesses would report a woman of her description being involved.

    Interesting. I guess I knew that, but I always thought of them as equals.

    That's pretty hard boiled.

    It's fun to see them kick back and joke around-- but just wait till Gannon finds out it was Friday who wrote the ticket. :rommie:

    I know stuff! :rommie: Although I did have to Google his actual name. But I've seen, uh, most of the movies.
  7. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut
    50 Years Ago This Week

    Houston, we've got a week.

    Selections from Billboard's Hot 100 for the week:

    Leaving the chart:
    • "Add Some Music to Your Day," The Beach Boys (5 weeks)
    • "Oh Well, Pt. 1," Fleetwood Mac (10 weeks)
    • "Rag Mama Rag," The Band (8 weeks)
    • "Travelin' Band" / "Who'll Stop the Rain", Creedence Clearwater Revival (10 weeks)

    Re-entering the chart:
    • "Come Saturday Morning," The Sandpipers

    Recent and new on the chart:

    "Long Lonesome Highway," Michael Parks

    (Feb. 28; #20 US; #5 AC; #41 Country)

    "You Make Me Real" / "Roadhouse Blues", The Doors
    (#50 US)

    "What Is Truth," Johnny Cash

    (#19 US; #4 AC; #3 Country; #21 UK)

    "Love Land," Charles Wright & The Watts 103rd Street Rhythm Band

    (#16 US; #23 R&B)

    "Cecilia," Simon & Garfunkel

    (#4 US; #31 AC; #51 UK)

    "Love on a Two-Way Street," The Moments

    (#3 US; #1 R&B)

    And new on the boob tube:
    • The Ed Sullivan Show, Season 22, episode 27, featuring The Temptations, The Canestrellis, Marilyn Maye & The Buddy Rich Orchestra, and John Byner
    • Ironside, "Tom Dayton Is Loose Among Us" (season finale)
    • Adam-12, "Log 144: Bank Robbery"


    It's grown on me a bit. Pretty upbeat and optimistic as the blues goes.

    I didn't know she'd done it.

    Kinda meh Temptations.

    This is one of that small handful of Tom Jones classics that's the reason I even have Tom Jones singles in my collection.

    Not bad, but relatively speaking, one of their "in-between" singles.

    So...she did something irrational in a stressful situation...?

    That's one of those second-lookers... :vulcan:

    I think it was Kent McCord...

  8. gblews

    gblews Rear Admiral Rear Admiral

    Apr 13, 2004
    So. Cal.
    Number one? Really? We had a lot to answer for, for some of our choices back then. :lol:
    Can’t recall if I’v ever heard this song, but I do like it. I know Little Milton had other hits though, including the unforgettable Grits Ain’t Groceries (eggs ain’t poultry, and Mona Lisa was a man).:)
    My family was from New Orleans, so I heard this song growing up in recorded versions and chants by my sister and her friends. This song is rather violent. It”s about a confrontation between Mardi Gras Indian gangs. There’s a bunch of songs like this in New Orleans culture.
    One of the great male voices of the rock era.
    Hard for these two to mess up a song and when you throw a Phil Spector production on top of it, pure gold.
    This guy was an actor, right? He has a pretty good voice, though can’t say much for the song.
    Another band from my childhood. I used to see these guys singing at neighborhood festivals. Love Land is a great song. Why don’t we hear r&b male voices like these anymore? These days, you got to song like Drake or The Weeknd to have a hit.
    Another of those great r&b falsettos.
    Loved pretty much all these guys did back in the day.
  9. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    This is pleasant.

    "Roadhouse Blues" has that comfortable familiarity to it.

    Groovy. Johnny is hip to the scene. :bolian:

    Just kind of a song.

    S&G. 'nuff said.

    Classic Oldie.

    It's great, of course, but it's on True Colors, not She's So Unusual.

    It's got that Righteous sound, but I did find myself segueing into "Loving Feeling" as I hummed it later.

    I know, right. What's up with that?


    One of him....

    I'm either two behind or four behind, depending on if you count the spinoffs.
  10. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut

    55th Anniversary Viewing


    The Ed Sullivan Show
    Season 17, episode 26
    Originally aired March 28, 1965
    As represented in The Best of the Ed Sullivan Show

    This one was just about to fall off the chart, so I'm not sure how much good the appearance was doing them in the day, but we got a good visual performance out of it (if a low-quality YouTube video):

    Jackie's routine begins with self-deprecating tales of adoption and very odd jobs, and transitions into him giving bad advice about picking up girls at the beach.

    This song (charted Mar. 6, 1965; #17 US; #5 AC) is typical of why I don't have any Bobby Vinton in my collection, and...sounds like the '50s. I don't say that as lightly as some. :p There are two videos of this performance available on YouTube, but they're both of such crappy quality that I won't even post them. Here's the studio version: tells us that he also performed a medley of vintage songs that included "Melancholy Baby" and "Margie".

    This duo's routine mixes acrobatics and physical comedy, using a high table and a couple of chairs as props. When they go over to Ed afterward, he asks one of them to lift him up...which he does! identifies this as a number from the Richard Rodgers musical Do I Hear a Waltz?, of which they were co-stars; and says that they also performed the show's title number. This sort of thing isn't really in my wheelhouse, but Franchi sure had a set of pipes.

    Also in the original episode according to

    "The Mission" (part three)
    Originally aired March 28, 1965
    This time the opening credits cut out the first chorus. And we have a brief narrated recap.

    The raid commences with Jason leading those bandits who are pretending to be ambushed cavalry officers. One of the soldiers at the fort recognizes McCord and reports it to the acting commanding officer, Major Whitcomb (Wendell Corey). Jason has just pulled his gun on the bandits trying to open the safe when the major and his men come in. Jason tries to explain his mission, but nobody believes him about his secret assignment from the president...the major having special reason to be skeptical, as his son was killed at Bitter Creek. The major orders Jason to be shot at dawn.

    Jason escapes his cell at feeding time by knocking out a cook and a guard (the latter with an anachronistic TV Fu Knockout Chop). Crispo tries to alert the guards, but Brissac stops him. Nevertheless, Jason is caught trying to exit the gate. One of the soldiers, Private Tyler (Steven Marlo), is eager to be on the firing squad, and manages it with the help of a fellow soldier who passes Tyler his drawn lot. Tyler's superior, Corporal Dewey (Patrick Wayne), is less eager to have Jason's blood on his hands.

    The next morning, facing the firing squad, Jason ask for one last request, and we cut away to the cell, where Crispo eagerly awaits the sound of Jason's execution. He hears it, after which the major comes in and Crispo is eager to taunt him with the knowledge that Jason was indeed infiltrating the bandits. With that confirmation, Whitcomb calls Jason in, convinced of his innocence. As Jason is leaving the fort, the major tells him that he's ready to put Bitter Creek behind him and hands him his saber; and Dewey and Tyler salute Jason with respect as he passes through the gate.


    12 O'Clock High
    "The Mission"
    Originally aired April 2, 1965
    The title seemed a little less generic, at least, for Branded.


    Gilligan's Island
    "New Neighbor Sam"
    Originally aired April 3, 1965
    Gilligan first hears the voices while gathering wood...and for once he's not stuck with nobody believing him, because the Skipper hears them too. As the male castaways search for the gangsters in the jungle, there's a cartoon-style scuffle between two groups, with a dust cloud rising from the brush and a castaway occasionally popping up into view. They also attempt to fool the gangsters into thinking they have greater, armed numbers by mocking up soldiers in the windows of one of the huts (putting good story use to Mr. Howell having brought so many clothes).

    But they soon discover that the source of the voices is a parrot named Sam, whom the Professor believes may provide them a means of escape, as the dialogue he's repeating would seem to indicate that there are gangsters with a boat somewhere nearby. The castaways can't get Sam to talk on demand, but get reactions from the word "boat". Mr. Howell also gets reactions from "jewels," causing him to want to spend some alone time with Sam thinking there's a treasure involved. Eventually Sam leads them to a cave where they find a 1906 newspaper and dig up a box of Jewel Crackers.

    In the coda, Sam's cage is in Gilligan and the Skipper's hut, which is causing them to lose sleep. Bet we never see Sam again.



    (charted Feb. 1, 1969; #73 US; #13 R&B)
    Not bad.

    Interesting. Hadn't paid that much attention to the lyrics or looked up the meaning.

    Yes...this was another late addition here when I saw that it would be entering the Top 20. Apparently this was the closing theme of a one-season TV wonder that aired in 1969-70 called Then Came Bronson, on which Parks starred and for which he apparently performed other songs that were used in the episodes. Can't say I like the song enough to get it.

    A contribution to the times-signiness.

    It has a nice sound, but doesn't really pop for me with early listens.

    I think I may have originally been familiar with the Stacy Lattisaw cover from 1981. An oldies radio classic with a memorable hook lyric.

    Plug album review here.

    I don't think the hiccups add anything to the song.
    Last edited: Apr 5, 2020
  11. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    There's another classic.

    Not lightly, just incorrectly. :rommie:

    That's the bad 50s. :rommie:

    Now that's something I'd like to see.

    On the other hand, I don't regret missing the golf conversation at all.

    This guy has the worst luck.


    An unexpectedly nice ending. I wonder if he'll go back and visit the president again now, or just continue a-wanderin.'

    To everybody's relief but Ginger's.

    But no skeleton. A skeleton would have been cool. And that's one old parrot. Parrots do have long lifespans, but that's kind of pushing it.

    Tastes like chicken.

    I vaguely remember the show, but not the musical component.

    A pretty nice one, too.

    Hiccups are to Cindy Lauper what "Yiaow" is to Joan Jett. I take it you're not a fan. :rommie:
  12. gblews

    gblews Rear Admiral Rear Admiral

    Apr 13, 2004
    So. Cal.
    Great song. Great performance. I imagine this is what blues legend, Bobby Blue Bland may have sounded when he was younger. Haven’t heard this song in many many years and it actually sounds better to me now than it did years ago.
  13. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut

    50th Anniversary Viewing


    Mission: Impossible
    "The Martyr"
    Originally aired March 29, 1970 (season finale)
    This one switches up the usual formula by giving us no portfolio or briefing...transitions straight from the tape to the mission in progress. There are a couple of guest agents, but we meet them along the way. I rather liked it.

    One of the agents, Dr. Valari (Peter Brocco), puts a chip into Phelps via which Barney can talk to him. Jim is hypnotically conditioned by Paris, who got a haircut, to respond only to what Barney tells him if he's under the influence of a truth drug.

    The other guest agent, a young, blonde hippie chick named Roxy (Lynn Kellogg, apparently an original cast member of Hair), informs Barney regarding the status of Maria Malik (Anna Lee)--the now-institutionalized widow of the country's former democratic leader, whom many of the young people worshiped. Barney shoots a message up into Madame Malik's window, and she shows us that she's still with it, having a concealed code book to decipher it.

    Jim meets an underground contact at a book shop under a false identity. The contact takes Jim's message for Madame Malik straight to Rojek and Czerny. The message sets up that the guy Paris is pretending to be is really Malik's son, Peter, who's coming into the country. Jim is promptly arrested.

    At a young people's reception, Paris shows up and is met by Rojek. Pretending not to know who he really isn't, Paris criticizes Malik Sr. Roxy performs "The Times They Are a-Changin'" on acoustic guitar. When she's introducing her next number, Paris speaks out against her values, Barney socks him, and Police Willy arrests Barney, who's but into a cell but allowed to keep his book by Rojek. Barney thermites the bars on the window and climbs around the outside of the building to bug the phone of Rojek's interrogation expert, Prof. Kadar.

    Meanwhile, Jim fake breaks under questioning and spills what he fake knows about who Paris fake is. Czerny sees an opportunity to use Paris to destroy the cult of Malik, so they call Kadar [Ed Bakey] while Barney's still in his office, having just planted the bug. After another close call getting back into his cell when his meal is early, Barney uses a device concealed in the book to listen to Jim being hypnotized by Kadar, and feeds the right fake answers to Jim via the chip. Jim fake reveals that he's an agent for the American Counterespionage Agency and verifies who Paris really isn't. The remote counter-interrogation hits a temporary snag when Barney is interrupted by the guard coming back to take his tray.

    Rojek and Czerny play a recording of Jim's interrogation to Paris and reveal to him who he really isn't. Not Peter stands firm behind his anti-Malik beliefs, and is fake-reluctantly convinced to speak at the closing rally of the congress. After Paris's fake true identity and speaking gig is advertised on the radio, Dr. Valari calls Rojek's office to claim that Malik Jr. is really dead, and subsequently shows Rojek and Czerny the grave. The identity of the remains checks out, so Rojek figures that Paris is a deliberate impostor who'll use the speech to turn the crowd against him. He decides to bring Maria Malik and Secret Agent Jim to the speech so that he can take the opportunity to expose all three publicly with evidence of the real Peter Malik's fate.

    The rally is a relatively small indoor affair on a set, backed up by stock footage of the crowd outdoors who are listening to what's happening inside via loudspeaker. When Paris speaks, he actually attempts to denounce Malik Sr., and is shouted down by Maria, who is hauled away. With the aid of Roxy starting a chant, the crowd gets ugly on Rojek...while Maria, Paris, and Jim are taken to a police wagon, which Willy and the now released and uniformed Barney commandeer. The episode ends with the unusual touch of a reprise of Roxy's rendition of "Times" playing over stock footage of youthful crowds running around in the streets and goofy-looking reaction shots of Rojek.

    Mission: Accomplished.

    Peter Malik is supposed to have died twenty years previously at the age of Nimoy's playing a 25-year-old? He was pushing 40 at this point.


    "Little Dog, Gone"
    Originally aired April 2, 1970
    Ironside gets caught up in the affair when he visits Commissioner Randall's office at the same time as one of the victims, Sissy Cardwell (Marsha Hunt), who's a personal acquaintance of Randall's. In one comical speech back at the Ironsidecave, the Chief both expresses his indignation and passes the buck to Ed and Eve. Mark manages to get out of it because he's not technically an employee, but when he's painting the home of a ladyfriend, Rachel (Darien Daniels), he overhears her talking to a man who's extorting her for a higher reward for returning their dog.

    Eve visits Sissy at a private club that they both belong to and meets her antiestablishment niece, Marla (Belinda Montgomery), who occupies the conspicuous top spot in the front guest credits, above her aunt. The episode doesn't think it's fooling us, because--having previously shown us the dognapper, Derek (Martin West), and the extortionist dog-returner, Denby (Abner Biberman)--it quickly reveals that Marla is Derek's girlfriend, is in on the operation, and is the one keeping her aunt's dog. She starts having second thoughts, though, when Derek decides to up his game to outright ransoming.

    Meanwhile, back at the Cave, Mark is at work investigating the affair, and has pulled the Chief grudgingly in. Team Ironside quickly zeroes in on Denby as the returner, so Ed and Mark enlist Rachel's aid to sting him when he brings back her dog. Ed, Mark, and a couple of uniformed officers then visit Denby's junkyard lair, where they find several abducted dogs being kept, but not all of the missing ones. Ed brings Miguel--the dog of a Mr. Fuente (Frank Puglia) to whom he had spoken earlier--to the Cave, to the Chief's initial consternation...though Ironside takes control of the situation by giving Miguel commands in Spanish.

    At this point the Chief is more invested in the case and wants to see it through, especially as he sniffs out that there's more to it. The team confronts the three private club members whose pets haven't been returned, but who have been claiming they were; these are the ones who received full ransom demands. The Chief quickly sniffs out Marla as a suspect and has her tailed. Marla uses a briefcase switch to deliver the ransom, but the team has a bug in the case, so they figure out her trick, though not quickly enough to get the case.

    At their hunting cabin hideout, Derek reveals that he plans kill the dogs rather than return them, but TI gets there in time. When Derek and Marla flee into the woods, Ironside has the dogs let loose so that Sissy's dog will go after Marla. Derek abandons Marla when he realizes what's going on, and they find her, despondent. Ed and Mark run down Derek, and Mark takes him down with fighting moves that include a judo throw.

    In the coda, Mr. Fuente comes to the Cave to retrieve Miguel and, when Ed won't accept a monetary reward, gives him a wood carving of a deer.

    This one had several good comic beats with the Chief.


    "Log 134: Child Stealer"
    Originally aired April 4, 1970
    The episode opens with Reed and Malloy coming out of Duke's to find that a German shepherd has jumped into Reed's window. The dog doesn't want to come out until his owner, a young boy, comes for him.

    On patrol, the officers respond to a call about a possible kidnapping. They learn that the baby of a Mrs. Bannister (Gloria Manon) has been taken by her estranged husband. Malloy thinks he'll return the baby, and that hes just using her as a bargaining chip to make Mrs. B listen to him.

    Next they check out a dispute at a drug store involving an elderly Mr. Ward (Burt Mustin), who's trying to pay for his meal at the food counter with trading stamps. Eventually persuaded to pay with legal tender, he hands over a $100 bill.

    The officers then investigate a bus on the side of the road that's been evacuated by the driver and passengers. It seems that a passenger sleeping in one of the seats (Quentin Sondergaard) has a gun on him. Malloy suspects that he's an escaped prisoner and playing possum. Malloy confronts him from behind cover at the front of the bus. The man tries to allay Malloy's suspicions and then draws, but Reed gets him through the window. Reed learns at the station that the man survived. There's mention of a review board to take place later that day, but when we next see the officers, it's the following day and they're back on patrol.

    The driver of a delivery van in front of the squad car makes hand signals with his left arm, which is hanging down from the window. The officers pull him over and see that his passenger has a gun. When Reed makes the passenger get out, the driver jumps out and tells them that there's another in the back. They all take cover behind the squad car doors and call for the other hijacker to come out. He does, unarmed. Back at the station, the officers turn down a case of booze each from the driver.

    On patrol again, the officers spot Mr. Bannister's car and pursue it. Bannister (Squire Fridell) pulls over and runs out, leaving the infant on the floor of the passenger heat. Reed tackles and cuffs Bannister, who then tells of how the child isn't his, but he took the her because Mrs. B was threatening to kill herself and the baby.

    In the locker room coda, we learn that Reed twisted his ankle and the baby's been put in protective custody.


    It was just lifting Ed off his feet with a bear hug.

    The show offered everyone in the family something during which they could get up and go to the bathroom.

    As I recall, Grant does pop up again in a later which, from what I recall of seeing it in the background, may have continuity issues with Grant's use here.

    I was wondering about that.


    Eh...I got her major singles when I was working in that era. But give me a '60s original and an '80s cover, and it's usually no contest.
    Last edited: Apr 7, 2020
  14. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    This strikes me as something they should all have permanently installed. :rommie:

    Mission: Modpossible.

    This is slightly surprising. We don't usually get real (i.e. expensive) songs on TV shows.

    "Why have you illegally infiltrated our country?"
    "The apple pie is pretty good."

    Power to the people!

    Being dead takes its toll on a guy.

    Wow, he really is grumpy. Save the puppies, Ironside!

    It's a good idea for an episode. Animals are people, too!

    That's a bit cavalier, Malloy. It's a freakin' baby.

    His entire life savings. :(

    While one is under review, they just pop another one out of the clone vat.

    Yeah, maybe we should look into this. :rommie:

    Still.... :rommie:

    Ugh, I hate continuity issues.


    Her first album in particular is really great.
  15. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut
    50th Anniversary Album Spotlight

    Van Morrison
    Released January 27, 1970 (UK); February 28, 1970 (US)
    Chart debut: March 14, 1970
    Chart peak: #29, May 30, 1970
    #65 on Rolling Stone's 500 Greatest Albums of All Time

    The album opens with "And It Stoned Me," in which Morrison describes a childhood experience of having gotten "stoned" on nature:

    Next up is the title track, the smooth, jazzy oldies radio classic "Moondance," which won't be released as a single for several years (charts Nov. 19, 1977; #92 US; #226 on Rolling Stone's 500 Greatest Songs of All Time):

    Following that is the romantic ballad "Crazy Love"--not to be confused with the 1979 song by Poco.

    "Caravan" uses gypsy imagery to express a memory of being able to clearly hear a radio from a distant house:

    The first side closes with "Into the Mystic" (#480 on Rolling Stone's 500 Greatest Songs of All Time), which Wiki describes as being "about a spiritual quest, typical of Morrison's work":

    Fun fact...

    Side two opens with current 50th anniversary single "Come Running" (charted Apr. 4, 1970; #39 US). Seems like "Moondance" might have made more of a splash had it been released in the day.

    The bluesy "These Dreams of You" was inspired by, of all things, a dream that Morrison had about Ray Charles being assassinated...!

    "Brand New Day" was inspired by Morrison having been lifted up by hearing a song by the Band on the radio...though it's uncertain whether it was "The Weight" or "I Shall Be Released".

    The album's upbeat penultimate song, "Everyone," distinctively features clavinet and flute.

    The album closes with the also-upbeat "Glad Tidings," which is more than a little reminiscent in places of "Brown Eyed Girl".

    This one is generally a good listen with a couple of stone-cold classic tracks on it; but while it's one of those albums that grows on me a little with each listen, it didn't really pop for me the way some do.


    Just popped into the installation scene while looking for something else, and they asserted that it had a very limited range...guess that's why Barney had to be in a cell near the interrogation doctor's office.

    Where's Pete?

    At least, not that they paid royalties for to keep with the show in home video / syndication.

    Actually, Barney wasn't eating anything...claimed he'd started a hunger strike before getting nabbed.

    He was speaking from his police experience.

    Didn't play that way. He said it was the smallest he had. Back in the car, Reed speculated that he might be one of those old misers who had thousands of dollars stashed in a mattress.

    Ah, a new running gag...
    Last edited: Apr 8, 2020
  16. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    Definitely a unique artist. His voice and style are immediately recognizable, yet seldom repetitive-- in the same vein as artists like Boston or CCR.

    A magical song. I can't believe this wasn't released as a single until 1977. I must have known somebody who had the album, although I have no specific memory of that.

    I absolutely love this song, and it has strong early 70s connections for me, which confirms that I heard the album somewhere, but not at home-- because, in those pre-Internet days, it took me an embarrassing amount of time to figure out that this was Van Morrison. For years, I thought it was a one-hit wonder.

    I wonder if they order Mystic Pizza afterwards.

    Makes sense, otherwise it would become too much of a transporter-like crutch.

    Now that's cool. :D

    Yeah, but it doesn't jibe with my knowledge of child kidnappings. Different era, I guess.

    Ah, a casualty of the Great Depression.

    I love running gags. :rommie:
  17. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut
    50th Anniversary Cinematic Special

    Directed by Robert Altman
    Starring Donald Sutherland, Elliott Gould, and Tom Skerritt
    Premiered January 25, 1970
    Generally released March 18, 1970
    Winner of 1971 Academy Award for Best Writing, Screenplay Based on Material from Another Medium (Ring Lardner Jr.); Nominated for Best Picture; Best Actress in a Supporting Role (Sally Kellerman); Best Director; and Best Film Editing

    As casual as my familiarity with the TV series is, I noticed some differences upfront. Hawkeye (Sutherland) and Trapper John (Gould) are 2/3 of a trio that's rounded out by a guy named Duke Forrest (Skerritt); and Klinger is nowhere to be found. Also, was Burns (here played by Robert Duvall) devoutly religious in the series?

    Here we see how Major Houlihan (Sally Kellerman) got her nickname:

    Noteworthy in these parts, Father Mulcahy is played by René Auberjonois.

    The guys subsequently find a way to get rid of Burns...not sure if there was a corresponding exit on the series:

    The guys don't manage to drive away Hot Lips, despite their best efforts:

    There's also a dentist nicknamed "Painless" (John Schuck), who's the center of a substantial segment of the story.

    A little too cute that Painless attempting to commit suicide is accompanied by "Suicide Is Painless" (the song that the TV theme was based on, with lyrics by the director's 14-year-old son).

    Overall, this was worth checking out, but it didn't really grab me. And for a story set in the early '50s, it felt very early '70s.

    It remains to be seen if I'll give the series a swing in my 50th anniversary viewing when the time comes. Even if I do, I don't know if I'd be up for 11 seasons! Three seasons would be reasonable...that was the actual length of the war.


    But this was specifically a case of the kidnapper being one of the parents...that informed Malloy's opinion.
  18. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    I was actually a loyal viewer of the show for most of its run, but I have yet to see the movie.

    The TV series definitely takes place in a different universe than the movie, but they do mention this character at least once.

    Yes, although that aspect of the character faded over time.

    I barely recognize him. :eek:

    The character left the show because of a mental breakdown, but it all happened offscreen, between seasons.

    It was probably intentionally anachronistic, like other movies, such as Jesus Christ, Superstar, were, although not as blatant.

    If you restrict yourself to the first three seasons, you'll miss the best stuff. M*A*S*H is a rare show that improved over time. At first, it was very broad and slapstick, although not without the satire that it was known for, but over time became something much more compelling and unique. Part of that is that the show improved greatly every time one of the original characters was replaced, which is another notable oddity for a TV show.

    That's exactly it. Most kidnappings are carried out by parents or relatives or people close to the family. It's not something I'd expect Malloy to take so lightly.
  19. The Old Mixer

    The Old Mixer Mih ssim, mih ssim, nam, daed si Xim. Moderator

    Feb 4, 2002
    Somewhere in Connecticut

    50th Anniversary Catch-Up Viewing


    Dragnet 1968
    "The Big Problem"
    Originally aired March 28, 1968 (season finale)
    Well that saved me a lot of transcribing!

    Wednesday, May 12 (last occurred in 1965): Friday, working out of Foothill Division as community relations officer, is accompanied by Gannon while attending a citizens' group meeting...a great opportunity for him to lecture and infodump. He encourages the citizens to call their CRO rather than allow rumors about things like police brutality to spread. He also lectures about how stories of police brutality are overblown. A young black man (Georg Stanford Brown) speaks out angrily and leaves the meeting.

    The next day, a couple of the meetings' attendants, John and Elsa Erickson (Roy Glenn and Maidie Norman), come into HQ to object to having been pulled over for no apparent reason. Checking the log of the officers involved, Friday finds that they were singled out because of a combination of their make of car, a rash of burglaries in the area, and how they happened have a TV set in their back seat. Friday thinks the main mistake the officers made was not explaining why the couple was being stopped, and he later takes the opportunity to listen to their side of the story in the break room, and then lectures them, giving one of the officers, Ron Braven (Charles Brewer), a particular dressing-down for displaying an attitude problem.

    The next day, Friday and Gannon attend the day watch roll call to lecture all of the uniformed officers about being kinder and more understanding with the citizens with whom they come into contact. He also tries to sign up some volunteers to give talks in their off-duty hours.

    Driving the streets, the detectives respond to an all-units radio call for a unit in need of assistance. A traffic warrant suspect is holing up in an apartment, saying the police will have to kill him to get him out. He turns out to be Billy Jones, the young man who walked out of the meeting. Friday talks to Jones through the door, and learns that Billy believes he'll get beat up if he goes to the station. Friday appeals to his sense of pride in himself and his community, persuading Jones to walk out calmly. He's still skeptical about how he'll be treated by "the man," but the onlooking neighbors seem impressed by how the situation was resolved peacefully.

    Celia (T'Pau) Lovsky was in this one as a woman at the citizens' group meeting, though I didn't catch her until I want back to look for her. She had one line: "What can we do about something like that?"


    Dragnet 1969
    "Public Affairs (DR-07)"
    Originally aired September 19, 1968 (season premiere)
    Damn, they're just making it easy for me this week. I wonder if this is the new norm, or just a coincidence?

    Wednesday, September 4 (1968!): Friday and Gannon are working the day watch out of Robbery Division when they're recruited by Public Affairs to represent the force on a TV program called Speak Your Mind, on which the bead-wearing host, Chuck Bligh (Anthony Eisley), will moderate a panel debate. The topic is "The Fuzz: Who Needs Them?" On the opposite side of the panel are activist Prof. Tom Higgins (Stacy Harris) and underground paper editor/publisher Jesse Chaplin (Don Sturdy, a.k.a. Howard Hesseman, looking very much like you'd expect Johnny Fever to have looked a decade before WKRP).

    Chaplin opens with rhetoric about the police being tools of the fascist establishment. Higgins is OK with the police to a point, but has strong feelings about their involvement with demonstrations. Bligh, who's been described as no fan of the police, feeds into the anti-fuzz rhetoric. Friday's rebuttals repeatedly touch upon how the police are just servants of the people.

    After a commercial, members of the audience have a chance to speak their minds. The first is against gun registration. The next is a young man who wants to know why marijuana is illegal. The conversation switches to LSD, and Friday sensibly if squarely recommends the public library as an alternative for mind expansion.

    Following another commercial, Mondo Mabamba (Dick Williams), the president of the Black Widow party, takes the podium with rhetoric about police brutality. Friday asserts that in twelve years he's drawn his gun eight times and fired it twice; and Gannon says that he's only ever drawn his on the shooting range. I have to wonder if these assertions would hold up against the series to date, including the original '50s run. Following Mabamba are a Mexican American who thinks discrimination was responsible for him not being able to get on the force, but Friday points out that he doesn't meet the height requirement; and an attractive young woman who's vocally pro-police.

    The program closes with final words from the panel. Higgins: the police are part of a broken system. Chaplin: "Cops are alright, but I wouldn't want my sister to marry one." Friday: Policemen are human, too, and they make mistakes, but they also have to make hard, life-and-death decisions. Friday likens the police to the military, and Chaplin tosses him a "Make Love, Not War" button. Friday: "Wouldn't it be nice if that were the alternative?"

    This one has no perps and no mugshot. The episode closes with the Dragnet fanfare playing as the panelists leave the stage.

    I think the issue of police brutality, especially in demonstrations, was glossed over a bit...particularly as this episode was following hot on the heels of the '68 Democratic National Convention. There's a good chance it was actually produced prior to the convention, which would be a shame, because I'd love to see how Friday would have spun the same topic if the episode had been made in its aftermath.

    There's also rhetoric from Friday in both of these episodes about how the LAPD is trying to do more to improve race relations. This makes me think that Webb should have put his money where his mouth was and cast one of the officers in Adam-12 with a black actor.


    Interesting...maybe you should take the opportunity to give a try. I recall my dad, who watched the show, watching the movie when it came on weekend TV in the '80s.

    BTW, I neglected to mention that Gary ("Radar" O'Reilly) Burghoff is the only actor from the film who went on to play his role in the series.

    Good to know, but we'll see. I'd say that if the show doesn't manage to hook me in three years, then...
    Last edited: Apr 9, 2020
  20. RJDiogenes

    RJDiogenes Idealistic Cynic and Canon Champion Premium Member

    Jun 11, 2003
    RJDiogenes of Boston
    He never misses an opportunity. :rommie:

    Probably not wise to express a preference to be killed then.

    "The air is the air. What can be done?"

    Maybe they're compensating for increasing commercial time or something.

    Okay, now, come on. :rommie:

    Well, he had a habit of changing his name....

    I don't know, but there's definitely not a lot of gunplay on this show.

    And it takes its toll on their mental health as well.

    Jack Webb is definitely pro-cop and does his best to promote them in a positive way, which is good. But they certainly do gloss over issues and undermine their own credibility by presenting a naive view of the counterculture. On the other hand, their presentation of the counterculture is generally diplomatic and sympathetic. But it would be interesting to see Friday and Gannon have to deal with some serious example of police wrongdoing.

    George Stanford Brown would have been a good choice. But, of course, they had to do something with all those Kent McCord clones.

    I actually don't care for most of the cast. And it always seemed to me that the characters in the movie were more assholes than rascals.

    That's true. I did know that.

    One thought is that you might want to start with the first appearance of Colonel Potter, rather than at the beginning.