Mondays with Columbo: NEGATIVE REACTION

(Revised 12/21/2024)

One of Columbo's best aspects is that the casting is near perfection, especially when it comes to the antagonist. Jack Cassidy and Robert Culp are two of the better-known, more popular antagonists, but Negative Reaction does something that we wouldn't expect....

Cast Dick Van Dyke as a villain. And an especially arrogant man with simmering anger to boot.

Van Dyke plays a photographer in an unhappy marriage. So instead of getting a divorce, he arranges to murder his wife and set up an innocent man recently released from prison. So when Columbo gets involved, that sets up an interesting game of cat-and-mouse...

In most Columbo episodes, the actor portraying the villain either acts arrogantly or plays his cards close to the chest. Dick Van Dyke, however, chooses to be infinitely patient with Columbo. Over time Van Dyke becomes gradually become annoyed with the detective. Peter Falk plays off that annoyance - we never see his Columbo become more obnoxious, and this becomes a great example of two actors knowing when - and how - to hit the right emotional beats.

In fact, Negative Reaction also has one of the stronger plots of any Columbo episode, with some great moments - the scene in the mission, for example, when Columbo is mistaken for a homeless man. Another scene where Columbo examines some of Van Dyke's photography books. All of these play into a really exceptional script that never feels forced of deliberately wacky like, say, the 1990s Columbo episodes.

And the ending? It may feel like a bit of a cheat on paper, but as televised...it works brilliantly. I wish I could say more without spoiling, but everything about it is pitch-perfect, and Negative Reaction is an intriguing (if lesser-appreciated) episode of Columbo.

But don't just take my word for it - check out what The Columbo Podcast and Just One More Thing have to say about Negative Reaction. 

Watch it on Tubi, and you'll agree with me. I guarantee it. 

Mondays with Columbo: A DEADLY STATE OF MIND

(Revised 12/21/2024)

Psychology was big in the 1970s,  and when I say "psychology", I mean an approach to "self-help that mixed self-actualization/self-awareness with a slight sense of narcissism. Portrayals of mental health professionals fell into two categories.

Bob Newhart played one type: George Hamilton played the other in this episode of Columbo.

In fact, I'll wager that the psychiatrist-who-has-an-inappropriate-relationship-with-their-client trope has become very overused, much like the "criminal-confesses-to-a-priest-knowing-the-priest-won't-talk" and the "Japanese-businesses-as-Yellow-Peril-type-menace-in-the-1980s" themes. However, this Columbo episode makes this well-worn trope work.

Dr. Marcus Collier (George Hamilton), a psychiatrist who specializes in hypnosis, is confronted by both her patient....and her husband. After a heated argument, there is a brief tussle, and Dr. Collier strikes the husband with a fireplace poker, killing him instantly. As a potential cover story, Dr. Collier and his patient/mistress make up a story about a break-in...and of course, Lt. Columbo comes along and starts working his magic.

In fact, one of the strengths of the episode is that Lt. Columbo is pursuing the "wrong" lead, focusing on Nadia (the patient/mistress) rather than Dr. Collier. As the investigation proceeds, Dr. Collier decides that it's time for his mistress to go...and so he hypnotizes her into committing suicide. And this twist makes A Deadly State of Mind a great Columbo episode.

Granted, I wasn't too impressed with the final gotcha (which seems...well, you should watch for yourself; it's hard to describe in text), but you're not watching this for the final clue. This is a Columbo episode that should be watched for George Hamilton's pitch-perfect performance.

That's right - I'm actually complimenting George Hamilton. It's the right amount of smug arrogance, or casual condescension, that makes this particular Columbo sparkle. Even though the final gotcha is a bit poor, there's something about it - in light of Hamilton's performance - that gives it a slightly heavier emotional impact that it may seem to warrant.

If it sounds like damning with faint praise, it isn't - A Deadly State of Mind may not be classic Columbo, but it's one that comes very close.

(Want another opinion? Check out The Columbo Podcast's perspective on A Deadly State of Mind)

Decide for yourself - watch it on Tubi. 

Mondays with Columbo: LADY IN WAITING

(Revised 12/21/2024)

In the late 1960s/early 1970s, television dramas pursued the concept of "relevance" or "writers attempting to deal with topical issues". (Hey, that's one of the reasons why I love early Ironside). So Lady in Waiting - written by Steven Bochco for Columbo's first season, embraces an interesting concept: how an heiress becomes empowered after the murder of her domineering brother.

However, the script has a very strange feel, almost like it required another rewrite.

To review the plot - an heiress to an advertising agency (Susan Harris) is consistently badgered by her overprotective brother (Richard Anderson). Adding insult to injury, the brother discourages her relationship with an attorney (Leslie Nielsen), claiming that the man is only in love with Harris' character for her money. So one night, the woman arranges an "accidental" shooting of her brother....and Columbo gets involved.

It's during the course of Columbo's investigation that things get rather unusual. During the course of his investigation, we see Harris' character blossom, becoming more assertive, more confident, even to the point of encouraging her family's agency to "market itself more." (As someone who's worked for several marketing agencies, this aspect is one of the more dated - many agencies aggressively market themselves). Ironically, Nielsen's character turns out to have purely noble intentions; he's no gold digger, but truly loves Harris. (In fact, Nielsen's character plays very well off of Columbo's efforts to thrown him). In the end, though, several small details (including one involving a light bulb) end up revealing the nature of the crime.

But it's the nature of the narrative - where we see the transformation of Susan Harris' character - that makes this Columbo a bit odd. (Not only did the Just One More Thing podcast highlight this in their discussion, they actually provided a photo demonstration). Lady In Waiting feels as if it's trying to do two things at one: make Susan Harris' character sympathetic, and at the same time suggest that her brother served as a emotional counterweight to her independence.

At the risk of throwing around terminology that may not fit, Lady In Waiting feels more like an effort to understand early 70s feminism than a mystery.

It's not bad - you wouldn't see bad Columbo episodes until the 80s revival, but Lady In Waiting feels awkward.

For alternative views, click on the Just One More Thing link above or check out The Columbo Podcast. 

To make up your own mind, watch it on Tubi. 

Mondays With Columbo: CANDIDATE FOR CRIME

(Revised 12/21/2024)

Columbo works best through various factors: a seemingly simple murder that has a major, unseen complication; opportunities for Columbo to interact in a world not his own; and most importantly, an engaging antagonist - one who can be either charming yet arrogant (like Jack Cassidy); willing to attempt some psychological manipulation (like Robert Culp); or have some sense of likability (like Clive Revill)

Columbo: Season 3's  Candidate for Crime is one of the lesser Columbo episodes...it's not bad, and is completely watchable, but the tone feels old-fashioned and several aspects don't quite fit.

Part of it is the passage of time: the idea of a politician having an affair with an aide is slightly more "acceptable" now than it was then. (It also hurts that Ken Swofford, who plays the soon-to-be-deceased campaign manager, seems to be rehearsing his later role as Frank Flannigan for Ellery Queen Mysteries). It's hard to believe in our current media-saturated client that an affair could "stay hidden." (It's also a shame that, even within the more cynical view of politics in the early 1970s, more couldn't have been made about the candidate's possible other indiscretions).

Much of the problem with Candidate for Crime is due to the casting of Jackie Cooper as the main lead, a candidate for U.S. Senate. Cooper feels like a last-minute addition to the cast, and his acting style feels completely wrong. (This should be more of a charming wheeler-dealer; Cooper feels more like a character from a bad 1930s political drama). When it comes to moments of intimacy with his mistress, Cooper looks less like a man with enough charisma to seduce a younger woman and more like a grandfather handling one of his grandchildren.

(Seriously, those particular scenes don't play well)

There are a few moments that make Candidate for Crime worth watching. One of them is Columbo dealing with a high-end tailor; although there is some awkwardness, there's also a great moment of Columbo's investigative process, playing the innocent but keeping track of the finer details. There are also two really brief scenes involving a young Katey Segal, which shouldn' t be too much of a surprise, since Candidate for Crime was directed by her father Boris Sagal.

Is Columbo: Candidate for Crime a complete success? No, but it's also eminently watchable - check it out on Tubi. 

For a different set of opinions, please check out this episode of The Columbo Podcast

Mondays With Columbo: BY DAWN'S EARLY LIGHT/IDENTITY CRISIS

(Revised 12/21/2024)

Hard to believe that I haven't written a Columbo-themed blog post since late March....but now is a great time to make up for it. In the spirit of the Fourth of July, I thought I would review not one, but two Columbo episodes with similar themes (and that, in a strange way, relate to today's holiday) for our semi-regular Mondays with Columbo. 

(They're also notable for both featuring Patrick McGoohan, but I'm not sure that's coincidental)

Television in the late 1960s/early 1970s holds a strange fascination for me: part of it stems from being barely old enough to remember it, but other series often strived for "relevance" during a time when the greater culture was striving towards "law and order"...

Columbo tended to not be very "topical" per se, but allowed viewers to secretly relish certain personality and class types being put to the task. Usually, it was handled in terms of those with wealth and power. By Dawn's Early Light, produced for Columbo's fourth season, takes a similar tone but with a distinctively different character type.

Thanks to Harvey Herk's direction, By Dawn's Early Light is a very atmospheric, character-driven exploration of a man best described as "out of time".

Colonel Lyle C. Rumford (Patrick McGoohan) is the strict, by-the-book commandant of a boys' military academy. As the episode opens, we see him preparing a cannon shell. We soon learn that William Haynes, chairman of the academy's board, plans to convert the school into a more traditional, co-ed academy....and that the announcement will be made on Founder's Day.

After a tragic "accident", Columbo is called to the scene and the episode kicks into gear. Rather than the usual cat-and-mouse game with the murderer, there's an  unusual rhythm to McGoohan/Falk's interactions. McGoohan provides moments where his character shifts between full cooperation and total rationalization of actions. Rumford's actions are motivated less by out-thinking Columbo and more about stonewalling the detective. It makes for less overt conflict, but a more covert sense of desperation.

Yet, in watching the two actors, there's a sense of futility and loss. Rumford (McGoohan) didn't commit murder because he was greedy or angry....but because he couldn't stand change. It would have been very easy to make him an overt villian or a narrow-minded bigot, but McGoohan infuses Rumford with an inherent dignity even in the midst of his crisis.

This is definitely a must-watch; for another take on this episode, check out this episode of the Columbo Podcast.

And now, for Identity Crisis from Columbo's fifth season, which is also a very good episode...but probably not for the reasons you think.

The plot is simple: an advertising executive named Nelson Brenner (McGoohan) is really a domestic spy....and is acting as a double agent. When confronted by an operative (Leslie Nielsen), Brenner decides to isolate the operative and murder him, hoping to make it look like a mugging.

From there, as Columbo gets involved....well, the plot's a bit lacking. There's no really clear motivation for Brenner's actions, nor is there a solid through-line. Even the resolution and the "final clue" are a bit underwhelming.

What makes this work is the obvious glee that McGoohan shows in performance and in direction.

Granted, greater paranoia and distrust of the government and its agencies were prevalent in the culture of the time (1975), but there's an obvious fascination with the complexities of espionage that drives much of McGoohan's direction. Even moments between Columbo and the Director (David White, aka Larry Tate from Bewitched) that might have been played strictly for laughs have tension.

But it's McGoohan's performance - as well as his focus on the espionage game - that gives this Columbo episode a feel not unlike The Prisoner. It's not just McGoohan's constant repetition of "Be Seeing You"; it's Brenner's obvious pride in feeling one step ahead of Columbo. (Note the scene where Columbo confronts Brenner about having the phones tapped - watch it and tell me that McGoohan doesn't appear absolutely giddy at that thought).

Despite the rather meandering plot, Identity Crisis is an episode that simply sparkles despite its heavy subject matter.

(Want some other perspectives? Check out these episodes of Columbo Podcast and Just One More Thing)

Columbo: By Dawn's Early Light on Tubi

Columbo: Identity Crisis on Tubi

Mondays With Columbo: PRESCRIPTION MURDER

(Revised 12/21/2024)

It's the TV movie that launched twenty years of mysteries, Originally a stage play, Prescription: Murder was the story that introduced the world to Lieutenant Columbo. As a complete done-in-one, it works....

....and as a pilot, it not only works, but it's easy to see what was later taken out.

Gene Barry stars as a psychiatrist who thinks that a relatively obscure Freud reference is appropriate for a party game. He's also dating one of his patients while maintaining a facade of a marriage. After being confronted, Barry's character decides to hatch a clever plan (although to be fair, he mentions to his girlfriend that they have had "months" to plan out this action) and murder his wife.

The interesting thing about Prescription: Murder is that Richard Levinson & William Link (the writers of the play) almost seem to be giving some preference to the murderer, rather than Columbo. This easily could have been a portrayal of a murderer who thought himself too clever, whose hubris defeated him in the end...

...but ends up introducing a now-beloved character, and Falk works with this. Although a slightly more cleaned-up version of Columbo (let's face it - this was the late 1960s), Falk brings many of the touches that make the character unique: his seeming humility, his consistent references to his wife, and a real determination to see the investigation through. It helps that Barry gives Falk a great back-and-forth, setting the tone for many guest stars during the classic run of Columbo.

And the other interesting thing about Prescription: Murder is in the resolution. Without revealing the exact ending, it is set up in a way that is atypical of Columbo.

Falk's Columbo confronts the girlfriend directly, almost in a threatening manner.

It's a scene that would not necessarily work in later Columbo episodes - in fact, only twice can I remember Falk's Columbo losing his temper in an episode. (Which is not to say that he hasn't done it elsewhere - just that I only remember it happening twice). It's understandable why this scene and a few other elements  were cut: in a done-in-one movie, it would make sense. For a pilot, other elements were more easily workable.

In a culture where arc-driven storytelling dominates media, watching a pilot can seem jarring. Prescription: Murder provides a great insight into the series' potential....as well as what might have happened had things not moved forward.

Definitely worth watching on Tubi.

Mondays With Columbo: SWAN SONG

(Revised 12/21/2024)

You might think, "Oh, this is the Columbo episode with Johnny Cash, so it's got to be a bit terrible."

Actually, this entry from Columbo's third season is quite remarkable in how it both reveals the crime and the resulting investigation....

But first, the not-so-good parts.

At the beginning, there's a quite obvious visual difference between actual Cash concert footage and studio-filmed Cash footage. (Admittedly, it was the 1970s, but the feel as like bouncing from the Captain America: Civil War trailer and the Batman V Superman trailer). It also doesn't help that Sorrell Booke - playing the victim's brother and the man who kick starts the investigation - plays his role a little too over-the-top.

But Johnny Cash? His performance is pretty rock solid. There are some...interesting dialogue and pronunciation choices (as the Just One More Thing podcast points out), but Cash never plays Tommy Brown as an overt villain. It's reminiscent of Andy Griffith's turn in A Face In the Crowd - behind the aw-shucks demeanor is a carefully calculating individual. A man who sees himself as slightly ahead of the curve....which is what Columbo's counting on.

But there's another nice aspect to the episode....and that's Columbo's interactions with Pangborn, an FAA investigator played by veteran character actor John Dehner. Normally, Columbo's interactions with investigators of various kinds tends to be....well, Peter Falk portrays Columbo as a slight annoyance to others. With Dehner (I'm willing to bet it's the script) there's a nice, polite respect between the two men. Gone are the obvious overt Columbo-isms - there's a great deal to joy in watching these two men work together. It's only a few scenes, but it's sheer delight.

Finally, this is one of those scripts that - with only a minor tweaking - could be a 21st century episode. A religious country music singer who murders his wife and background singer in order to gain money....and hide a dark secret? Had this been produced two or three years ago, the conservative set would have been up in arms about this. But in the 1970s, it was....a bit more polite, but still has something of a contemporary edge.

One of the better Columbo episodes.

And yes, it's on Tubi. 

Mondays with Columbo: ETUDE IN BLACK

(Revised 12/21/2024)

As the opening episode of Columbo's second season, Etude in Black has several things that make it sparkle: the interplay between Peter Falk and John Cassavetes; the witty, engaging script co-written by Steven Bochco; and some exceptional direction by Nicholas Colasanto (aka, Coach on Cheers).

But not all of the direction is exceptional...but more on that later.

John Cassavetes plays a conductor who is having an affair with his pianist. However, the pianist threatens to reveal the affair to his wife....and of course, his wife's mother just happens to be the orchestra's major funder. And Alex Benedict, the conductor....well, he just can't have this.

Move forward towards a very staged suicide....and in walks Columbo. That's when the sparkling begins.

It helps that Falk has worked with Cassavetes on several films; there's a lovely, charming interplay between the two men that always feels real but never becomes over the top. It also helps that Blythe Danner - looking like her daughter, Gwyneth Paltrow - provides a really strong support as the conductor's wife. There's never a false character beat, and the plot unfolds casually and naturally. (Since this is one of the longer Columbo movies, that lack of padding is sorely appreciated)

But the big clue that will lead Columbo towards his final conclusion...is telegraphed a mile away.

It's dwelt on in the beginning, and the audience is aware that it will figure into the story's resolution....and it's a poorly executed move on Colasanto's part. It's not enough to completely ruin the story, but it is enough to diminish the episode's punch.

Let's call this one an A minus - but even an A minus Columbo is still worth watching....

Especially on Tubi.

Mondays with Columbo: THE CONSPIRATORS

(Revised 12/21/2024)

"This far....and no farther"

The Conspirators was the final episode of Columbo's seventh - and final - season on NBC. It's also a real gem of an episode in as much as Columbo faces off against someone very much like himself.

In other words, it's Sexy Dad against Sexy Dad, as one of the co-hosts of a popular Columbo-themed podcast would say. 

Clive Revill plays Joe Devlin, an Irish poet/writer/singer whose work funds....well, the subtext is the "troubles in Ireland".  He meets with an arms dealer, and when things go awry....it means that Columbo finds himself involved with a case that should have been much more tense, but isn't.

That's not an insult - it's hard to talk about any kind of political movement without invoking discussion of 9/11, but I'm avoiding it as much as I can in discussing The Conspirators. Howard Berk's script does a masterful job in laying out the situation without having an overtly "torn-from-the-headlines" approach.

(I'm looking at you, Law & Order).

What makes this story work is the interplay between Clive Revill and Peter Falk - although there's a definite cat-and-mouse game, there is barely any tension with both men almost congenial in their approach to each other, which seems to heighten the stakes. It's as if both men are working hard to outcharm each other...and the end result is both highly entertaining and emotionally satisfying.

Although many people believe in the watch-every-episode-in-order-of-broadcast approach to binge watching, go ahead and watch The Conspirators next.  It's available via Tubi.

You'll thank me later.

Mondays with Columbo: AN EXERCISE IN FATALITY

(Revised 12/21/2024) 

I'm going to say this once: Robert Conrad should be receiving the kind of ironic respect that is showered on William Shatner.

You know - a guy who has a well-defined image, who doesn't take himself too seriously, and who - unlike Shatner - did all of his own stunts.

And if this Columbo episode proves anything, it's that Robert Conrad could act if given the right script.

Think of it this way - An Exercise in Fatality was produced five years after The Wild Wild West was canceled....not by low ratings, mind you, but by the then-prevalent movement to reduce violence on television. It would have been easy for Conrad to descend into his eventual image of a tough guy who knew no limits. We've all seen the commercial:


But here's Conrad taking a well-deserved risk: he plays Milo Janus, a fitness guru who has been engaging in what my father might refer to as "creative bookkeeping". When one of his franchise owners starts digging, well....let's just say the phrase "killer workout" will apply.

And one of the great things that I love about this Columbo - perhaps more than any other - is that there is a palpable sense of threat against the detective. Sure, Falk does his best to diffuse Conrad with humor (trust me, nothing says "comedy gold" like Columbo in a sweatsuit), but the script takes great pains to not only make Janus a very clever adversary....but also quite a formidable one as well.

(Unlike Ross Martin, who seems more annoyed than malevolent in Suitable for Framing, or even Shatner's turn in Fade Into Murder which felt too self-referential....but those are posts for another time)


To be honest, I felt the ending reveal was....well, a bit weak. (Given that Peter S. Fischer - who later co-created Murder She Wrote - and Larry Cohen were involved, I'm quite surprised). However, when watching it again, I realized that Conrad had such a presence throughout An Exercise in Fatality that on some level, I was hoping he would get away with murder.

(Also, extra bonus - a brief walk-on by the actor who played Ham in Doc Savage: The Man of Bronze)

This is one of the better Columbo episodes and worth checking out on Tubi.

Mondays with Columbo: HOW TO DIAL A MURDER

(Revised 11/29/2024)

Sometimes, it's good to have a professional background you rarely use.

For me, it's counseling psychology; as an undergrad and graduate student, I always loved mocking behaviorists. With their emphasis on pure stimulus/response - and refusal to consider internal motivation - they seemed easy pickings.

Which is probably why this latter-era Columbo hits several sweet spots.

You may not think it's one of the more memorable episodes (in an interview for The Columbo Phile: A Casebook, lead villain Nicol Williamson admitted that he barely remembered this episode), but it actually has quite a bit of charm...as well as twists and turns.

First, there's the entire premise - a behavioral-style psychologist/lecturer murders his best friend, suspecting the friend of having an affair with his late wife. It's a very clever idea, involving training...and Dobermans.

Dobermans are great dogs. My neighbor has a Doberman, and they're the most charming, lovable breed. (Just don't mess with them). So that's a plus.

(Note - Jake, the Doberman in question, died in 2014. It turns out Doberman dogs have short life spans)

There are also some great character beats - Williamson's obsession with "classic" Hollywood. (Very few Columbo episodes rarely have a villain with a really cool hobby). Some great uses of operant conditioning. The "reveal" at the end.

And Kim Cattrall as well.

One of the smaller, yet more enjoyable, Columbo entries.

Consider spending a quiet Sunday afternoon watching it on Tubi. 

Mondays With Columbo: DOUBLE EXPOSURE

(Revised 11/29/2024)

Sometimes, Columbo reflects the concerns of its time...as well as the early talents of its writers.

In this case, writer Steven J. Cannell, one of the most underrated writer/producers in the television industry.

Yes, I wrote that. Out loud. Look at any of his work, and there is a very nice, well-honed sense of hitting the public taste. He manages to work out the Columbo formula in this third-season entry, and integrating the then-popular idea of subliminal advertising makes this a rather enjoyable tale

It also helps that Robert Culp plays the lead villain - a marketing research specialist with a background in psychology (hey, imagine that) who sidelines in blackmail. When one of his victims decides to turn the tables, an interesting - and nasty - twist ensues. Culp pays the villain to the hilt - unlike the cool, detached detective of Death Lends a Hand or the boisterous coach of The Most Crucial Game, there's a nice balance of malice and detachment.

But what makes this work is the script - we see Columbo working through the case in his usual manner, and there is quite a bit of "behind the scenes" exposition within the episode. But most importantly - it never feels dull. (To put it another way, Cannell's script has little, if any, filler). Even the resolution - the how of Columbo's final confrontation with the murderer - has a great sense of irony, even more so that Suitable for Framing.

(Which we'll cover next week. Seriously).

But this is one of the best Columbo episodes created, and well worth watching.

It's easy - here's the link to it on Tubi.

Mondays With Columbo: THE MOST DANGEROUS MATCH

(Revised 11/28/2025)

Very rarely (at least, if memory serves) did Columbo ever pull "straight from the headlines", but this may be one of the few Columbo episodes that share similarities with its more recent equivalent, a fourth-season episode of Law & Order: Criminal Intent.

Focusing on the then-prevalent interest in chess (now the subject of a major motion picture, now with extra Tobey Maguire), The Most Dangerous Match has a great idea behind it - after all, aren't most Columbo episodes like a chess match? And wouldn't having Laurence Harvey of The Manchurian Candidate as a counterpoint to Columbo seem like a no-brainer?

Although there's a great idea behind it...the movie is one of the fair-to-middling entries in the Columbo oeuvre.

Laurence Harvey plays a chess champion - arrogant, abrasive, and wearing a hearing aid. He will be playing against his Russian opponent - who came out of retirement to take on the champion - and with shades of Bobby Fischer, Harvey goes into a bit of a panic, complete with a neo-psychedelic dream sequence...

...and that's the first of many awkward, not-well-thought-out sequences in the film.

There are some clever touches: an impromptu dinner between the two chess players leads to a further impromptu game of chess; heightened scrutiny by a Russian chess coach leads to some tension; and every step of the way, Harvey finds ways to counter every move and plan moves. Even at the end, when he is bragging about the number of games other chess players could handle, Columbo delivers a simple checkmate.

This isn't a bad Columbo episode (you won't get such a thing until the 1980s revival, which is why I'm not covering that era), but the direction seems lackluster. Although the writing is relatively strong, the revelation of the "big clue" feels weak. (It also doesn't help that the victim is revealed to be "only hurt" early on - although there is a later killing stroke, it does lay part of the plot open).

Is this a Columbo to remember? No, but it's worth watching if you like chess or own the DVD-boxed set. You can check it out for yourself via Tubi.

Oh, and just one more thing......the Columbo Podcast focuses on Make Me a Perfect Murder while Just One More Thing focuses on A Friend In Deed...

MONDAYS WITH COLUMBO: "Murder By The Book"

(Revised 11/28/2024)

In all honesty, I had no intention of starting this feature so early - or with this episode. But last night, out of boredom, I turned on MeTV and found myself drawn back into this episode.

(It also serves as a nice tribute to Martin Milner, who passed away yesterday).

This is considered the first "official" episode of Columbo the series (after two pilot films - Prescription: Murder and Ransom for a Dead Man). The film has a very impressive pedigree - it was one of Steven Spielberg's early works for Universal (along with Night Gallery and Duel), and was one of the first scripts written by Steven Bochco.

Yes, that Steven Bochco.

The plot concerns the breakup of a long-standing mystery writing team played by Jack Cassidy and Martin Milner. Of course, Ken Franklin (Cassidy) is not too happy with the breakup; after all, the loss of the partnership means losing the perks of celebrity....and a consistent income. (Seems that Jim Ferris - the silent part of the partnership played by Mr. Milner - was doing all of the work). So Ken Franklin engages in a plan to eliminate Mr. Ferris....

....and no, that's not a spoiler. Columbo perfected the "inverted mystery" for television the same way R. Austin Freeman used the form in his Victorian-era Dr. Thorndyke mysteries. (And trust me - his essay The Art of the Detective Story is your must-read about mysteries, slightly behind Raymond Chandler's The Simple Art of Murder. What's remarkable about Columbo - even at this early stage - is how well it plays to its strengths: the cat-and-mouse between Columbo and the murderer; the outright class-based conflict (between Cassidy with Columbo and Ms. LaSanka, his wannabe paramour), and the speculation as to what-will-trip-up-Cassidy.

(And that's part of why I'm not focusing on the 1980s revival - too many variations on the formula, and a little too much of their time).

But it's Jack Cassidy who nearly steals the show - his three performances in Columbo are the equivalent of Jack Klugman and Burgess Meredith's appearances on The Twilight Zone. Cassidy manages to swing between affability and implied menace with chilling ease. (If he looks familiar, he's this young lady's grandfather). Even as the victim, Milner creates an inherent likability and warmth in what should have been a one-note portrayal. It's to Milner's credit that by the end, the viewer takes great glee in Franklin's downfall....because he murdered such a nice, likable character.

Available via streaming on Tubi and DVD, Murder By the Book is a great intro film for newbies. Although I will not be discussing the films in chronological order, I am proud to introduce this as a first entry in this series.

And as always, if you disagree, have suggestions for other episodes, etc, just leave them in the comments below.

Coming Soon To the Blog: MONDAYS WITH COLUMBO

(Revised 11/28/2025)

You know, it's been a while since I've live blogged a show without the words "Doctor" and "Who" in the title. Although I fully intend to do that for Series Nine, I thought I would take advantage of a currently up-and-coming trend.

With two podcasts and a blog focusing on the show, the Columbo series is making a bit of a comeback. Perhaps a slow, deliberate style of storytelling seems antiquated in this multi-arc, rapid-fire media climate....but there's something genuinely unique about Columbo

It's one of the few franchises that I remember (barely) as a child but reconnected with during the 1980s revival. (The release of The Columbo Phile: A Casebook  helped immensely, and it's also available for free streaming via Tubi). It was also one of the early spurs of my then-college-era writing career, leading me to develop a spec treatment for a possible episode.

(You can see the results here. and no, I can't find the treatment. Nor my high-school-era story proposal for Doctor Who).

So here's how this will (more than likely) work:

• My focus will be on the 1970s "NBC" era - I don't have copies of the ABC movies, and if memory serves, they weren't necessarily that good.
• Posts would happen every other Monday, giving me time to enjoy the episodes and providing a cushion for writing delays. 
• I'll review the episodes in random order, simply because going chronologically would get boring. Plus, there's a greater sense of discovery (in addition to the fact that, with each episode being 70 - 90 minutes, it can get boring).

So please hop onto Tubi if you want to watch along! 

Oh, and just one more thing: I'm open to debate. I'll just be posting my reactions and insights, rather than plain information. You're more than welcome to debate me at any time.

Looking forward to this - if anything, it should help me reflex my blogging muscles.