– whenever anyone starts talking about how this program gets strange in its later years, remind them the first episode produced after the pilot consists of guest star Michael J. Fox arguing with Santa Claus until the judge literally smothers him in a hug
– “Night Court” is the 1980s sitcom that took an actor best known for playing a Boston area con man and had him play a New York judge so virtuous they had to balance his morality with a wacky persona (this guy isn’t all nobility; he plays with chattering teeth and whoopee cushions at his bench!); it’s possible Harry Anderson’s “Cheers” character Harry The Hat and Judge Harry Stone are the same individual, a dual personality torn between two cities and two very different codes of honor; then again, no other characters from “Cheers” ever materialize on “Night Court,” and “Cheers” had a crossover with every other fuckin’ show on NBC at some point (even “St. Elsewhere”); don’t worry, a shared universe exists between “Night Court” and one other Must See TV sitcom—the Paul Reiser vehicle “My Two Dads”
– in this first season, Paula Kelly plays savvy public defender Liz Williams, a perfect adversary for John Larroquette’s ego-driven prosecutor Dan Fielding; unfortunately, they don’t give Kelly enough to do and these end up being her only 13 episodes; Karen Austin chews more as clerk Lana Wagner, trying her best to parse Judge Harry’s odd mechanisms while stemming what might be an eruption of attraction on her part; Austin is fun and charismatic in this role but she also did not make it to round two (she was cut loose by “Night Court” producers after developing Bell’s palsy); it’s disappointing these talents were shortchanged but the good news is they had careers long before and after these legal hijinks (and Austin quickly recovered from her malady)
– “Night Court” takes place in New York City thirty years ago but they dress all the bums and lowlifes who wander in and out of the gallery like they’re in a train yard seventy years ago; it’s like the classic hobo review and follies
– Yakov Smirnoff guest stars in one of these episodes; somehow he makes it all the way through without saying, “What a country!”
– call me a cynic but it’s difficult to believe these people are all so chummy after hours; if someone had abandoned a baby with one of the bailiffs at the O.J. trial would Marcia Clark, Johnnie Cochran, and Judge Ito have gone over to the bailiff’s house to help out?
– generally the humor of “Night Court” is timeless but every once in a while the writers slip in the topical, like a Pia Zadora reference (1984 audiences were very ready to laugh at her expense)
– as a wee tyke I’d watch this program and dream about visiting a New York City municipal court; in 2011 I got to live my fantasy after receiving a citation for being in Prospect Park after sundown; to my dismay, it was nothing like on the tv—the judge did not do any magic tricks, the attorneys did not crack any jokes, and overall the experience was vaguely depressing; based on this I am wary of befriending any sheep herders from Mypos
– if “Night Court” was just John Larroquette and Richard Moll’s bailiff Bull Shannon trading insults for thirty minutes each week it still probably could have lasted for nine seasons (the dudes is funny)
– excuse my dissidence but it is frankly disgusting that the “Night Court” theme song has not become our country’s national anthem
SPOILER ALERT: there might be spoilers in this.
– the nightmare never really ends, time is anything it wants to be, reality may be actively working against you; these are the sentiments I take away from season three of “Twin Peaks,” an eighteen hour tapestry that’s as frustrating as it is arresting and interesting; if you agree life is more about the journey than the destination, hop in, because we might end up at the DMV
– ask me why the original “Twin Peaks” strikes a chord with so many viewers and I’ll theorize it lies in the even braiding of various fascinating strands: the inherent kitsch of Anytown, U.S.A., the seamy underbelly of Anytown, U.S.A., the Pacific Northwest’s foggy weirdness, a police procedural, and a bevy of legitimately intriguing townies; “Peaks ’17” skews that balance as scores of principle characters and their stories are pushed aside for jaunts with new cast members, lengthy views into unsettling paranormal screen savers, or bizarre non-moments; the art to be found in the sequence where Robert Forster makes a 15 minute Skype call in real time is the lack of art
– David Lynch is critic-proof, of course; perhaps the only way his fans would cry foul is if he’d done anything conventional for the new “Twin Peaks”; that said, the decision to bury our hero, Agent Dale Cooper, in a doppelgänger story line wherein he is not himself at all for the majority of the season while relegating our other beloved icon Audrey Horne to a handful of similarly out-of-character sequences comes across in some ways as cruel (especially if this is in fact the last “Peaks” ever, as Lynch has suggested); it feels like maybe we’re being punished for enjoying these people too much
– don’t worry, we spent plenty of time with Lucy and Andy; you’ll be happy to know they’ve somehow become even stupider
– the game is afoot from the first episode, after a character declares that very unpopular “Peaks” staple James Hurley has “always been cool”; David Lynch has seen your “fuck James Hurley” memes
– when fans say “Twin Peaks: The Return” is unlike anything on television, they’re correct; it trusts its audience implicitly, assuming from them a specific brand of loyalty and intelligence; also, many of the aforementioned journeys into unexplained realms are uniquely hypnotic; the program may vex you but it’s rarely boring to look at, even when a guy is just sweeping a floor
– the remark has been made that, thanks to his role in this, Jim is now the Belushi with the more revered body of work; this is only because season three of “Twin Peaks” is longer than all of John Belushi’s films combined
– the final two episodes introduce a few wonderful and brilliantly conclusive ideas, only to pull them back and present something else; Lynch is as Lynch does, and that itself may be the true point of this coffee soaked exercise
– there are some wigs in this thing, hoo boy; Spirit Halloween shoulda been thanked in the credits; to be fair, I don’t know how to make a wig (I also don’t know how to make prestige television)
– at eighteen hours you’d think they would have found room to throw in Bill Pullman wailin’ on a saxophone but no such luck; at least we get (the) Nine Inch Nails and Edward Louis Vedder Severson
– the reputation of this two episode “event” from 1979 precedes it: it’s the Justice League of America as another cheap and witless variety show, the first entry bouncing flimsy adventure between two or three sets and a thicket of curdled jokes while the second is a roast of the superheroes hosted by Ed McMahon; serious comic heads treat “Legends” like the bubonic plague but it doesn’t reach the scalding hell of “The Star Wars Holiday Special” or “The Chevy Chase Show” (then again, maybe this reviewer has spent too much time entrenched in dreadful horse vomit and is now numb to true pain)
– with the rights to Superman and Wonder Woman tied up in much better properties, this Justice League is lead by Batman; Adam West returns to the cowl and proves time cannot weather his intoxicating dopiness; at his side is Burt Ward’s Robin, who also has no problem getting back on the horse (and his comedic chops feel like they’ve improved since 1968); another “Batman” reprise comes via Frank Gorshin as that maniac the Riddler; though Gorshin isn’t in command of the baddies he’s certainly in command of all the acting talent; that said, Jeff Altman is devilishly charming as Weather Wizard and you can see why they later paired him with Pink Lady
– for Green Lantern, Captain Marvel, the Flash, and Hawkman, NBC called in rent-a-hunks, deliciously sculpted figures with high watt smiles and heroic-seeming dispositions; alas, none of these guys were in danger of sweeping the Emmys, though perhaps Bill Nuckols should have received an honorary award for not dying of embarrassment while wearing the helmet “Legends of The Superheroes” shit out for Hawkman (the mask might be nothing more than construction paper); by the way, these shows aren’t the only peacock droppings Nuckols has on his résumé: he’s also Wally on “Supertrain”
– there are women in “Legends of The Superheroes” but not very many and they aren’t given much to do; in fact, famed rogue the Huntress doesn’t even speak in the first episode; hard to believe a series that introduces an African American character named Ghetto Man would marginalize women like that
– yes, the enormously problematic Ghetto Man debuts in the latter episode to clown his fellow do-gooders and shout his magic catch phrase, “Kareem!”; on a more positive note, future “Night Court” star Marsha Warfield pop up in the first entry and is deftly funny as a flabbergasted woman lingering in a phone booth as our heroes grapple with Solomon Grundy; Warfield goes uncredited but let’s choose to believe the comedienne was savvy enough to have her name removed from this not A+ production
– Batman calls Robin “laddy bubby” at one point, which might be the clearest indicator there’s more going on in the Batcave than previously figured
– a big surprise in “Legends” is that the wizard Mordru, undisputed master of black magic and various other nefarious sorceries, prefers to travel by jet ski
– Adam West, god rest his beautiful soul, refuses to tuck his cowl into the Bat costume for the duration of these programs and it is slightly infuriating how lazy and drunk it makes the Caped Crusader appear
– Hawkman’s mother shows up in episode two and get this…she’s not a hawk, falcon, or bird of any kind
– Ruth Buzzi is also present as Aunt Minerva, a nemesis of Captain Marvel who inexplicably wants to marry him; guess she didn’t get the memo that he’s secretly a ten year old boy
– judging by the reactions of the heroes during the roast episode they didn’t screen the jokes ahead of time; what looks like genuine amusement breaks out across all their faces after each playful barb (Captain Marvel Garrett Craig in particular is having a real hootenanny of a good time)
– in addition to jet skiing, the wizard Mordru (here portrayed by Dead End Kid Gabriel Dell) treats us to a ghoulish rendition of “That’s Entertainment” which concludes with the Dark Nobleman taking a cream pie to the face; no better proof exists that wasting food is hilarious
– Warner Bros released “Legends of The Superheroes” on DVD in 2010 but because this thing was shot on video it still looks like a greasy shit sandwich; didn’t they realize ding dongs in the future would feast on this as meaty irony and crave it in the highest of definitions?
– airing in January of ’79, “Legends of The Superheroes” pre-empted the Jack Webb series “Project U.F.O.” which suggests the government created these terrible comic book tv shows to keep a lid on extra terrestrial activities; assume Jimmy Carter will confirm or deny this before he dies
Star Wars celebrates 40 years of escapism, influence, and cultural currency today. The founding chapter of this now colossal property was released May 25, 1977, across a pittance of screens. Popularity ignited like a house on fire and before anyone could blink this thing was obliterating contemporaries like A Tale of Two Critters, Herbie Goes to Monte Carlo, and Viva Knievel!. Only Smokey And The Bandit gave Star Wars any kind of run for its money, and there’s still a gap of about $180 million in domestic gross between the two. Burt Reynolds just couldn’t charm his way around Chewbacca.
There’s a documentary feel to the 1977 Star Wars which helps it resonate deeply, a framing where the audience isn’t following narrative but observing environment; the awkward broth of fantasy exposition is dismissed and we’re allow us to ferret out details as we witness events in these alien realms. This is especially true of desert planet scenes where the robots fumble along, get swooped up by the junk dealers, and are unceremoniously dumped into Luke Skywalker’s life. This fly-on-the-wall style counters so many other sci-fi films that desperately want to impress upon you their grandiose, mythical nature. Star Wars just drops you in there and lets many fantastical moments unfold nonchalantly, because these characters see lasers and blue milk every day.
Pivoting on that point, one of the best decisions George Lucas ever made was to insist this beginning Star Wars is actually the fourth installment of a who-knows-how-long saga. That let our imaginations go purple trying to fill in the priors. As incredible as the visuals and characters in Star Wars are, they suggest much more with that context. On the other side of the ewok, one of the dumbest decisions George Lucas ever made was giving in to temptation and actually filming the first three chapters, bluntly extinguishing the dreams we spun for ourselves across several decades.
Star Wars numbers four and five came before one, two, and three; there are probably those who also believe the immediate sequels—1980’s The Empire Strikes Back and 1983’s Return of The Jedi—should have never been made, allowing the 1977 film to remain the purest of entities. Foolish mortals! Star Wars made so much fucking money it was never going to be singular. Let’s just count our blessings over the miracle of The Empire Strikes Back, that rare sequel which bests its founder in pulp, artistry, and thrill. Star Wars 6 and 7 (and Rogue One) are great too, but there’s just something about the dreamy nightmare of Empire that cannot be equaled.
Of course, Star Wars at 40 is more of a conglomerate than ever, absorbed by Disney so they can have Darth Vader roaming the halls of their luxury hotels with minimal overhead. Star Wars belongs to our entire planet but it’s a U.S. invention and there’s nothing more “American” than celebrating a successful business. So rats off to maximizing profits and creating a global brand. And thanks for being so lenient with the fans who have restored and distributed the theatrical versions of the ’77 movie and its two sequels; this must be an admission of guilt or disagreement regarding “the vision” George Lucas suddenly decided he had for the original trilogy in 1997.
What else is there to say? Nanu nanu, put more Greedos in Star Wars 8.
– before you even ask, raktajino is klingon coffee; lots of beverage humor on “Deep Space Nine” since one of the main characters is a bartender
– this is the “Star Trek” that broke all the rules: instead of hurtling through the cosmos looking for adventure, “DS9’s” heroes boldly loiter on an intergalactic truck stop (one their Federation bosses consider clutch thanks to its proximity to both the universe’s first documented wormhole and a newly autonomous planet called Bajor they hope to fold into their ranks); the action is serialized, unfolding many intricate plots across numerous episodes / seasons; Gene Roddenberry’s commandment of “no interpersonal conflicts” between crew members also goes out the window, so these folks endure more realistic frictions; craziest of all, there’s money in this final frontier, proving even utopia can only spread so far before being priced out
– would you believe it all works, and works gloriously?; “Deep Space Nine” is bleaker and more cynical than the previous entries (call it “Grunge Trek”) but ultimately the characters, whatever their flaws, are being driven by the same hope and optimism that touched Kirk and Spock and Picard and that guy who merged with V’GER; it’s a potent stew that struggles not to engage; that said, in this gorn’s opinion a few bits are dopey, like the holographic lounge singer and the episode with Rumpelstiltskin
– it is strange in the early seasons to see Avery Brooks, who commands this station as Benjamin Sisko, with hair on his head and not on his face; prior to “DS9,” Brooks starred in “Spenser: For Hire” as the bald, goateed detective Hawk, and apparently there was concern audiences would think Brooks was playing Hawk in space; taking one for the team, Brooks changed his look, but had to revert when he felt the change was affecting his performance; Sisko is definitely more commanding with the tight facial scruff and shiny pate
– they could have made Benjamin Sisko’s son Jake a typical brooding teen who resents his father for trapping him on this floating gas station (mom is deceased, killed in a borg attack) but instead he’s refreshingly upbeat and supportive of his old man; he’s also one of the few characters who can pull off the 24th Century fashion of an earth tone vest over a purple jumpsuit
– some of the major antagonists on “DS9” are these grey, neck-heavy aliens called cardassians but there aren’t very many parallels between them and the Kardashians (aside from the basic “ooh these people drive me nuts but I can’t stop paying attention to their exploits!”)
– if anybody knows anything about this show it’s ferengi bartender Quark, who looks like an elephant leprechaun hybrid possessed by the devil; Quark is absolutely possessed by the quest for profit, as are most if not all Ferengis, and he refuses to grant any human the respect of having their species name pronounced correctly (“HEW-mahns,” he insists), but you’d be surprised how often a sense of morality interrupts his naked thirst for money (excuse me—latinum, the official currency of ferengi)
– if anybody knows anything else about this show it’s the episode where our Deep Space Niners go back in time and board the Kirk / Spock Enterprise via the computer technology made famous by Forest Gump; “DS9” should have won a shit ton of awards for special effects on this one because the way they cut these people into the “Trek ’66” episode is so much more seamless than what’s in Gump (it even fooled some people working on the show, they say); furthermore, it isn’t some throwaway entry in the founding “Trek” series they enter but the friggin’ tribble episode—can you imagine if “Deep Space Nine” had screwed the pooch on that one?
– Terry Farrell, who plays a character on “DS9” that is carrying a 300 year old symbiote in her belly that fuses her personality with all the personalities of its previous hosts, left the program after several years to join “Becker”; this is the all-consuming power of Ted Danson, truly the borg of our universe
– “DS9’s” later seasons are consumed by a war that breaks out between the Federation and these brand new aliens from the other side of the wormhole who want to control the universe; a lot of interesting religious stuff comes into play as several other alien races perceive the new aliens to be infallible gods while the bajorans ramp up their faith in Benjamin Sisko, who they believe is an “emissary” sent by their own gods to deliver them from evil; like any other war, this thing’s got espionage, double crossing, triple crossing, breakdowns in the chain of command, and klingons beating the hell out of each other
– also in the later seasons, Jeffrey Combs turns up at this figurehead who is like the nefarious and withering precursor to Rob Lowe on “Parks & Rec”
– since this is “Star Trek” there are of course a few episodes where the crew visit 20th Century Earth and cannot figure out what the hell is going on; as tired as this trope is within “Star Trek” it is never not entertaining
– the “DS9” series finale could be firmer in its second half but once the dust settles one could argue the narrative is open for reprisal (don’t we deserve a feature film where Avery Brooks is givin’ it to some Cardassians for 90 min?)
– yes, Iggy Pop is in one episode playing an alien and he is fuckin’ good
– Children of The Corn is a film about some kids possessed by another kid possessed by a nebulous farm demon; they’ve expunged every adult from their town and any grownup unlucky enough to cross their path winds up crucified on corn stalks; all of this is more plausible than the scene where two tykes break off from the cult to indulge in a game of Monopoly; an entire town at your disposal and you want to play a real estate simulator?
– the protagonists are Burt and Vicky, an adult-ish couple driving through Nebraska on the way to Burt’s medical internship; problems begin when they accidentally run their giant canary colored 1980s car into a child of the corn; Burt must be at the bottom of his class because he moves the kid from the scene of this accident, wrapping him up and tossing him in the trunk; slowly the child of the trunk is forgotten about as Burt and Vicky’s quest for a doctor gets weirder; by the time the end credits roll, the vehicular manslaughter that set all this shit into motion remains unresolved; the lesson: if you run over a child of the corn, just wait until help arrives or else you’ll wind up fending off gaggles of hollow-eyed baby Satanists with just your wits and a pocket knife
– the nebulous farm demon is never really seen or thoroughly explained, which is disappointing; a 1984 movie about otherworldly energy moving through cornfields and possessing children deserves a big crazy stalk monster that spits creamed corn and vaporizes chickens with laser eyes
– one of the production companies credited with bringing Children of The Corn to life is Hal Roach Studios, who of course also delivered us Alfalfa, Spanky, Buckwheat, and the rest of Our Gang; is that ironic or hilarious, and has anyone considered a dark reboot of Our Gang?
– this film is creepy and unsettling and they could have stopped at one but in the grand tradition of any marginally interesting 1980s horror film there have been seven Children of The Corn sequels and a remake
– if John Franklin’s portrayal of malevolent child preacher Isaac becomes too much to bear, calm yourself by remembering that Franklin also plays Cousin Itt in both Addams Family movies
“Space Ghost Coast to Coast” put me in absolute shock the first time I saw it. I couldn’t believe a tv show so fluently spoke to the cultural car crash in my head. A fusion of “Batman ’66” and Letterman and punk rock; a post-modern quasi-cartoon rewriting the rules of kitsch; a reverse Roger Rabbit where our dimension is the tiny portion of a surrealist animated landscape populated by exhausted and agitated characters who couldn’t give a tinker’s dam about what anyone else wants, let alone a human. A show about a retired super hero entering the late night wars with two sidekicks he’s imprisoned in his garish studio on an otherwise barren planet.
No other entertainment makes me laugh as hard as “Space Ghost.” It’s so elastic. Clever and cutting one moment, beautifully stupid and nonsensical the next. Long stretches of nothing, then dense clusters of joke upon joke upon joke, like a swarm of bees. Total reverence for a guest that quickly washes into contempt and sarcastic quips. And the full visual trip of live action celebrities being forced to interact with repurposed ’60s animation—what an addictively weird atmosphere.
An enormous piece of the show’s creative heart was animator and voice actor C. Martin Croker, who passed away last weekend. Croker brought to life the titular host’s enslaved sidekicks, band leader Zorak and producer Moltar, who as the show progresses transform from standoffish super villains into disgruntled everyman employees hilariously nonchalant in their burning hatred for Space Ghost. Zorak and Moltar savor each moment their captor stumbles and find themselves in a quiet pain when he succeeds. Naturally, these two have their own issues: Zorak is a pathological liar and cannibal while Moltar seems to be covering up an unsatisfying marriage.
How could I not be in awe of Croker? He drew this amazing show, voiced incredible foils for the main character, and his name’s stately as hell. This guy’s a legend. Everything I’ve read about him away from his work suggests he was cool, generally willing to share a laugh with admirers or do the Zorak and Moltar voices. It’s devastating that he’s gone at only 54 (cause of death currently undisclosed) but I’ll always be thankful for experiencing his talent. It affected me deeply to see that television as bizarre and lawless as “Space Ghost” could not only exist somewhere but thrive. That’s inspirational.
So thanks, Clay Martin. We’ll miss you.