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. 

Why I Love THE WILD WILD WEST

Only the late 1960's could an episode of a show - a Western with slight science fiction elements - contain

A chimp wearing a Civil War Uniform....

...a bar fight involving clowns....

....and a leading man who seems to be having fun while making this episode.

(Screencaps from the episode The Night of The Tyrant, the final episode of The Wild Wild West on the Complete Series boxed set. Only drawback to this episode: none of the whimsical charm of Ross Martin).

The Game is Awry, Watson!

 I have to admit, I take my Sherlock Holmes seriously...but not too seriously. (Just take a look at my various posts for The Baker Street Blog). So I ignored the online criticism, set aside my preference for BBC's Sherlock, and simply decided to check out CBS' Elementary.

In short, this is an unexceptional, by-the-book series...so much so that I wonder if the only reason Holmes was used was to generate publicity.

Admittedly, I like the concept - Holmes-as-recovering-addict - that House MD flirted with, but never really engaged head-on. I'll admit that a more hard boiled Holmes might just be what television needs (in start contrast to the updated Victoriana of Sherlock). I'll even grant you that for network TV, there really can't be too much deviation from formula.

But Elementary's biggest sin is that it's too workman-like, from Rob Doherty's script to Johnny Lee Miller's and Lucy Liu's performances. Nothing about this show crackles, engages, or even demonstrates a willingness to run freely with the source material. In fact, you could easily substitute different names for the main characters, and it wouldn't have any effect.

(Although I can honestly say, given Miller's performance as Holmes, that Elementary has allowed me to slightly appreciate Robert Downey Jr.'s performance more. Downey might be reminiscent of Hugh Laurie, but Miller seems to be superficially channeling Basil Rathbone....but Downey at least tries to make the role his own; Miller never really catches fire. And Lucy Liu's Watson is....just there. None of the performances really engage the viewer, nor is there any intriguing deductions to be made in the entire case. Ironically, the only striking thing about this first episode is the direction, which is visually engaging...but plot wise, it's rather dull).

In short, the game has gone painfully awry for CBS' Elementary - it's biggest sin isn't that it rips off another series (because it doesn't), but that it really doesn't quite stand out in a network full of police procedural shows.

In short, you don't need to be a Holmes - or a Watson - to deduce that there might be better uses of your time.

Crossover Moment of Zen....

In honor of my dad's birthday....

Remember that time that Ian Chesterton convinced the Doctor to pick up Derek Flint, Ilya Kuryakin, and Jim Rockford....and drop them off so they could fight World War 2?

Click, and the power of the Internet will make this larger....

Nah, neither did I....

(The above photo is from The Great Escape, a really cool film from 1962 which you can find at Big Lots for about $10. I may write about it in June. You really need to sit this, people. It's like The Avengers, only with Steve McQueen on a motorcycle).

The COMIC BOOK MEN Brouhaha

Simply from a scheduling perspective, Comic Book Men seems like an obvious winner. Scheduled immediately after AMC's Walking Dead (a show which I'm positively neutral about - the premise is intriguing, but the execution just doesn't grab me), having an "unscripted" focus on a comic book shop might be a nice, pleasant way to finish a Sunday night. Or, at the very least, be like Clerks in a comic shop.

Unfortunately (and you'll hear more details in the Zone 4 episode to be uploaded on Friday), except for 10 to 15 minutes (focusing on determining the worth of collectibles), I found the show to be....well, bland. However, there's been a lot of controversy about the show and, well, the televised behavior of its participants. From Comic Related to other related sites, there's been innumerable talk - and argument - about the show.

In an effort to help encourage thoughtful debate, here are the main arguments for the show, and my witty, considerate rebuttals to those arguments.

• You're not being fair - you need to hear their podcast in order to "get" them - If this were a multi-arc show like, say, Lost, I would agree. This is a six week limited series; you need to hit it out of the ballpark with the first episode, especially since none of the cast except the guy who looks like the Unabomber has anything remarkable about them. (And the Unabomber guy might want to learn a little something about showing respect online)
• It's not bad - it's just slow in places; it will improve as it goes on, so why not give it a chance? - I will admit, I did like the moments when they were determining the worth of various collectibles (and as someone who has never seen Pawn Wars...but none of the regular cast, even with Smith present, seemed to have any distinctive personality. (It didn't help that they were rather snarky in tone when discussing people as they left. Yes, it happens, but it doesn't bode well as a public presentation of comics fans in general)
• You're just jealous because they have a show and you don't - Right, because I've spent my entire life developing advanced skills so my life could be videotaped, broadcast, and criticized by producers, directors, television critics, and discussed in the same breath as someone named "Snooki". Yes, I am being sarcastic, but quite honestly - I am a podcaster. I work with two guys who have a lot more personality than the Comic Book Men. We deserve better.

• You're living the cliche - the nerd who openly criticizes his fellow nerds: Actually, no, my life is not a cliche - most of the "nerds" I know are intelligent, well-spoken, and respectful, working in a variety of fields. Shows like Comic Book Men reveal a large segment - the nerd who isn't a "high tech" nerd, but the kind of guy who criticizes the families of comic creators for being "greedy" when suing companies. They never met a Marvel or DC press release they didn't like. They'll deride other fandoms or fan activities in an obvious effort to seem "cool". I would argue that not only is criticizing them not a cliche, but is the mandate of every commentor who has a stake in "nerd culture".

I have hung out at comic shops - I know the insanity that sometimes happens, the weird conversations. I've seen a guy in a Star Trek uniform approach the counter and ask - with a straight face - if he could work there, and announce that he was willing to be paid under the table. I've had conversations with women about cool action comics. I've hung out with a variety of cool people....but Comic Book Men doesn't capture that. It's more of a network or marketing executive's idea of what appeals to "nerd culture" than an honest appreciation.

And to answer your question - no, I didn't watch last night. I'm actually quite glad, because unlike many of my comic fans, I find it easier to drop something I dislike than rant about it online. And something tells me we won't be seeing a season two of this show any time soon.

Douchebags A Go-Go, Part Deux: The Book That Inspired It All

A few short weeks ago, I viewed the pilot for Showtime's new series House of Lies, and enjoyed it....with some reservations. What the series did for me, of course, was encourage me to seek out and read the book that inspired the series.

If you're looking for a book that reflects the content of the series, well, this isn't it. However, Martin Kihn's House of Lies: How Management Consultants Steal Your Watch and Then Tell You the Time is one of the sharpest, most incisive - and biting - examinations of corporate culture and the corporate mindset, showing how people who enter a very lucrative profession often end up at risk of gaining the world, but losing their soul.

This is a much more picaresque novel, and unlike the series (which seems to be a fix-the-broken-company formula that takes stylistic cues from the BBC's Hustle), the book actually manages to draw blood. Ironically, given Mr. Kihn's past as a comedy writer, his ability to juxtapose the sole purpose of a consultant (namely, shift data around, write reports, and regurgitate back to a client) is mixed with a sharp, insightful examination of how that culture functions.

In many ways, Kihn uses corporate jargon (which is now coming increasingly cliche) as a way of examining the undercurrents of corporate culture. As someone who has worked/is working in that culture, his insights are dead-on, creating a portrait of a culture which is smooth, intelligent reading for anyone who is even interested.

(Now, many of you know why I prefer to work in non-profits; yes, there is dysfunciton, but as Kihn demonstrates throughout, corporate consultants tend to be a self-perpetuating system, operating solely as a way to generate income through meaningless "advising". Non-profits, at their best, have a core set of non-corporate values which they strive to work towards....and now Kihn has me using it).

So please, head to your local library or independent bookstore and grab a copy of House of Lies. It's actually one book that's better than the series.

Support My Blog By Watching TV!

As many of you know, I have some affiliate links on the right side of the blog - mostly, they're there for you to show your support.

One of them is for Warner Brothers studios (and if you are wondering why I'm being so up close and personal, please check out my disclosure policy) and I would like to invite you to help support this blog (mainly domain purchase, bandwidth, etc), through some really cool series they have on sale...and to take advantage of their bargains.

It's also a great way to catch up on some great television as well...although the WB Shop has standard Harry Potter/Superman/Batman/other fare, it has some really cool deals on some great television shows.

This is the sick kitty in question.

First, would you believe you could get each season box set of The Wire for under twenty bucks apiece? Well, would you believe Get Smart boxed sets for ten? How about Brisco County, Jr: The Complete Series for $12?

Ok, obvious references aside, there are some really good deals - seasons of Babylon 5 for $12 apiece, Deadwood Seasons 1 - 3 for $18 apiece, or even all three volumes of Harvey Birdman, Attorney at Law for under $30. Plus, since I get a little piece of the action, your money will go towards helping take care of this blog....and a sick kitty. I rarely, if ever, do the flat-out money grab, but thought that this would be a good way to encourage you, the reader, to help without feeling like I was begging.


(And plus, you should also consider checking out the WB Archive, which should be accessible by clicking the small banner in the upper left corner of this post. It's a DVD on Demand service that has many hard-to-find films, relatively obscure Hanna Barbera Cartoons (although, quite honestly, I believe it's worth it to own your own custom copy of 
The Herculoids).
So please visit the links and purchase something, and help keep this blog running.

I Pity the Fool that doesn't take this post seriously.

Taking the Sky - A New Appreciation of FIREFLY

I've written about Joss Whedon's Firefly before...in fact, I've received criticism for suggesting that it's a much better franchise than another, better known science fiction television franchise.

But I've been watching the original series on DVD (it was an Amazon Deal of the Day, and I needed something to meet its Free Super Saver Shipping....and yes, I was Christmas shopping for family online), and an interesting thought occurred to me. So please, dear reader, bear with me as I try to articulate my thinking.


Firefly's premise is that, as people went out into space, they were....well, they didn't exactly end up in the best of situations. Often, they were dropped onto worlds with minimal supplies and support, living under a regime that seemed regimented, authoritarian, and with a focus on law & order.

Our intrepid crew operates under the guise of "freedom" - not freedom in the traditional, my country-right-or-wrong sense, but in the sense of being independent, of working outside of other social contexts, of being willing to fight back...even if that "fighting back" isn't an organized rebellion, but a willingness to relate to human beings where they're at.

It's a kind of grassroots, person-centered approach that, right now, we're seeing in our country. At a time of great economic stress, where people are feeling (and in many situations, actually are) disenfranchised, many are standing up and relating to human beings as they are, and they're helping....

In short, Firefly came 10 years too early.

And if the above doesn't make sense, well....it made perfect sense in my head earlier this morning....

Join the Few, the Proud, the Comic Related!

Benefit # 1 - Distinctive
Casual Wear

November is a month that has a great deal of significance for me in one regard - it's the month when my column for Comic Related, "TV Party", first appeared online. (CR Guru/Close Personal Friend Chuck keeps reminded me that I was the "first" columnist; read into that what you will). Having a regular non-blog outlet for my writing has provided me with great benefits (including "press credentials")....and I would like to pass the magic onto you.

Comic Related is looking for people who are willing to write for them on a regular, consistent basis. They're looking for people who are willing to write weekly reviews of comics (with an indie slant, but they'll accept mainstream) as well as weekly/regular columns about things comic related.

Benefit # 2 - Cosplayers
Model Headwear on Request

Knowing Chuck, Brant (who is second only to Chuck in honesty, integrity, and all-around cool) and John (who is definitely the third out of three) as I do, they're a great group to work with. I mean, I get to interact with the guy who wrote all those Green Hornet comics I dug in the 1990s! I sometimes get the occasional piece to review! I get press passes! Plus, it's allowed me to develop my unique writing style.

(Although Brant is asking me to consider changing how I submit columns - he's claiming that my handwriting is already tough to read; writing it in crayon and faxing it in is really tough for him to transcribe).

What do you need to write for Comic Related? I've found these helpful:

• A strong, writing ability - you don't have to be Shakespeare, but you should know basic grammar, composition, etc.
• A strong opinion tempered with a strong sense of consideration - in order words, Beavis & Butthead-esque declarations of "this sucks" or "this is cool" aren't good enough; describe why you like the book, or why you hold a particular opinion
• A sense of humor - unlike some bloggers who participate in a "fake" style of humor, Comic Related doesn't quite take itself so seriously
• Dependability and an ability to meet deadlines.

So, you're probably wondering, how do I become a writer for Comic Related? Simply send an e-mail indicating your interest in either being a reviewer or a columnist. They'll follow up, and trust me, unlike other comic news web sites, you will never be able to say, "Comic Related never met a press release they didn't like."

Come join the Comic Related community - it is a total and complete blast. I'm still having fun after all this time, and it's only getting started. 

A Study in SHERLOCK

If there's one set of fandom that I can honestly state started in childhood, it's Sherlock Holmes fandom.

As a ten-year-old, I eagerly read and re-read The Complete Sherlock Holmes (although admittedly, it was a child friendly version, as all the references to cocaine use were removed), had then engaged in a steady diet of the Basil Rathbone/Nigel Bruce movies (most of which are in the public domain and available via the Internet Archive). As a ten year old, it was less the cerebral problem-solving of the Doyle stories that appealed to me as much as the go-for-broke spirit and style - I'm sure that many of my fellow bloggers and writers, when pressed, will admit to reading Holmes as a youngster). In fact, although I had high hopes, as I've said on this blog, the recent movie left me underwhelmed.

But the BBC production Sherlock, over the course of three 90-minute movies, is nothing short of revelatory. Rather than opt for pastiche, producers Steven Moffatt and Mark Gatiss opt for mash-up: reinventing Holmes as a 21st century character could have easily become anachronistic and ill-fitting (after all, a "contemporary Holmes" once fought Nazis). But through some clever writing, spot-on touches (like seeing Holmes "thought processes" animated), and some clever ideas (such as Watson being a blogger, and Holmes having his own web site), the series' three "episodes" are probably the most faithful to the Holmes "canon".

Steven Moffatt kicks the series off in high gear with A Study in Pink, which takes some cues from the original first Holmes story (the Watson/Holmes introduction, the infamous watch deduction, and a key clue), yet manages to then turn into a strong, engaging story that kicks off the series' "arc". (Which I'm not going to spoil - suffice it to say, part of the fun is seeing how the arc plays out). The weakest of the three is Stephen Thompson's "The Blind Banker"...but weak is a relative term. (Meaning - it has some spots that drag, but is otherwise of equal quality). The piece de resistance is Mark Gatiss' "The Great Game", which is so intricate in its twists and turns, in its reference to "the canon", and which comes to a great final confrontation that it's hard to believe that this is the same person who wrote the rather weak "Victory of the Daleks" for the most recent series of Doctor Who.

But what really sells the series is the casting, which is extremely spot-on without a false note being played. Benedict Cumberbatch is a simply brilliant Holmes - in fact, I'll argue that his performance approaches the high standard that Jeremy Brett set in the last televised version of Holmes. It's equal parts Hugh Laurie (the Holmesian arrogance), Tom Baker (the moodiness which suggests that Cumberbatch could have easily played the Doctor...but chose not to), and David Bowie (there is a slightly "alien" quality about him). Martin Freeman ably supports him as Watson - in fact, Freeman plays Watson with a mixture of exasperation, enthusiasm, and action. It's no wonder why this pair connects in Sherlock - it's a great double-act that the recent movie tried to emulate...and failed miserably

According to TV Shows on DVD, Sherlock is due for DVD/Blu-ray release after November 7th. A BBC America discussion forum thread suggests that the movies will be on PBS in the fall. My suggestion - do whatever you can to see these movies (obviously, in a legal non-copyright infringing way), and I'm definitely planning on getting these on DVD around Christmas.

But until then, feel free to enjoy reading the canon either via Librivox or Stanford's online Holmes program from a few years back.

Now, more than ever, the game is truly afoot.

Playing the Big Con

It's almost cliche to state that a piece of literature has had an impact on popular culture, but David W. Maurer's The Big Con: The Story of the Confidence Man casts a long shadow.

And before this entry turns into another generic blog review, let me just say that I've just read this book, and it's pretty interesting. I enjoy the occasional foray into non-fiction, and even though this book is well over 60 years old, there are some really entertaining aspects about it.

Maurer was a linguist, looking at the way in which con men spoke. However, in order to explain the lingo, he had to explain the lifestyle - in short, this is the kind of book that really examines a unique subculture. So much so that even if you are not into crime movies/noir at all - you'll get a lot out of it.

And for those who may be curious, here's where you can locate examples of this book's influence in popular culture:

• One of the cons, notably "The Wire", made its way into the screenplay of The Sting;
• The writers of Mission: Impossible used it as a template for episodes in the show's first three seasons
• Most of the plots in the first two seasons of the BBC show Hustle take their cue from this book
• I'll even go so far as to say that the George Clooney Ocean's Eleven and the season three Mad Men series finale have aspects of this book integrated into their plots.

It's probably the closest you want to get to the criminal lifestyle, but quite frankly, this is one of the more refreshing books I've read. It may seem dry as dust, but quite frankly, I would seriously welcome a graphic novel version of this book.

I'm even willing to write it.







It's a pretty breezy read - I managed to finish it in three days (via commutes to and from work), and was really enthralled

Coming This Fall to "Blog THIS, Pal!"

Ok, so I've managed to live blog season four of Doctor Who, which means...I'll have to take a little break from television. But come September, what show should I watch and blog for your entertainment. Well, OK, I had a poll, and 77% of you had indicated your choice...however, I humbly asked Roger for a quote to help push the show. His response:


But then, I asked Greg, who is one of the smartest bloggers on "the Internets", as the kids say. However, his response was a cryptic paraphrase from Virgil's Aeneid with an OK to use his photo:
So finally, I asked a true gentleman and my current blogging idol: Bully, the Little Stuffed Bull. Yes, he who makes comics fun, who is witty, charming, and is the one blogger I would love to meet face-to-face (or whatever stuffed cows call their faces). His response, so simple, so pure it makes your heart cry out in joy:



Well played, Mr. Bully, well played.

Various and Sundry Sunday

With the Internet abuzz about all sorts of things - and the fact that I haven't actually blogged about comics in, like, forever - here are some brief little tidbits on comics, television, and other things that I can't justify putting in a full post.

• Am I the only person who loves Marvel's Annihilation storyline? And who thinks that Guardians of the Galaxy is their present-day attempt to mimic this futuristic franchise? (And I am not complaining...
• I liked Robin # 174. I might have enjoyed it more...had Stephanie's "return" not been so telegraphed by Bill Willingham when he wrote her "death" in Batman so long ago.
• If you haven't seen Venture Brothers, please watch it tonight on Adult Swim. For any comics/animation/humor fan, it's a must-watch. Why this show isn't more popular, I have no idea.
• I always thought that the "Assignment: Earth" episode of Star Trek would have made a great franchise. I enjoyed Greg Cox using the "format" for his Eugenics Wars novels. John Byrne's use in Star Trek - Assignment: Earth # 1 from IDW...left me cold.
• (Clicking link will lead to potential speculation/spoiler) - I wonder if the major plot twist on Battlestar Galactica is actually a version of this. If so, I wouldn't be surprised.
• I liked Final Crisis # 1...but I only wish that (major character with untapped potential) had not have been (no spoilers here). I think that (what happened in Final Crisis to major character with untapped potential) is the new cliche in comics.
• In all honesty, I wonder why this show is not a comic book. To whatever company gets the rights...I'll write it. For free, if need be.
• Surprisingly, I'm enjoying the heck out of Brubaker's run on Captain America. I just wish I could say the same for Avengers/Invaders 1. I'll give it time, though.
• Dear Mike Sterling - As per this post, I am asking that you post a picture of yourself wearing a bow tie on your blog. It will drive your blog traffic upwards. Trust me on this.
  
• Finally, I might enjoy "Thy Kingdom Come" in Justice Society of America more...had they not done similar storylines in The Kingdom. Or Chuck Austen's run on Action Comics. It's just too bad DiDio seems resigned to this fate.
  

He Can't Be Wounded 'Cause He's Got No Heart

Many of my fellow bloggers have their own particular unusual likes - those things that make them quite unique. Dorian has Wildcat. Greg has Abba. Polite Scott has House, MD. Chris Sims has the cheerleading classic Bring It On. Mike Sterling has Swamp Thing.

And now, I have my own, unique thing that makes me distinctive...that goes beyond my obsessive love of Doctor Who and Mythbusters.

That, dear readers and close personal friends, is an appreciation for the unique genius of Ironside.

Making my way through Ironside: Season 1 on DVD, it's easy to think of this as another run-of-the-mill detective show. In fact, the early 70s seemed to have a ton of detectives on television. I think that it might have been a reaction to lawless times...but I think it's just more that they wanted to do contemporary Western-style shoot-em-ups. In fact, if this show were made today, it would be a high concept show - House, MD meets the Mod Squad with a bit of Law & Order ripped-from-the-headlines storytelling. A former chief of detectives, disabled by a sniper's bullet, forms a crack team that consults on special cases with the San Francisco Police Department...and this was created in 1967.

Even though Shout Factory! (or, the people who helped make Rhino cool before it became a reissue arm for Time Warner) is touting the series for its storylines and before-they-were-famous appearances, there's one reason why this show works, why - despite the somewhat formulaic writing - it has a little bit of a snap.

Raymond Burr.

It would have been easy to make Ironside a gentle-hearted man, made cynical by an accident of fate, and then move towards redemption. However, Burr makes Ironside hard-boiled from the pilot. He drinks bourbon. Out of coffee mugs. In the afternoon. He uses the word "flaming" as a substitute for a harder obscenity. He also provides the right mix of emotions, serving as the driver of the narrative...but gives some softness where appropriate. It speaks volumes that crime writer Jim Thompson novelized the pilot episode.

The other killer factor (please pardon the pun) is Quincy Jones' theme for the show. His first season arrangement is, I think, a little stronger than the later Dick-Dale-meets-Isaac-Hayes version. With an intro later cribbed by Quentin Tarantino, this is one of the most distinctive title sequences...where the lead actor gets shot 15 seconds into the sequence.

Is this one of the most cutting-edge shows ever created? Well, no...but it's pretty solid entertainment. The focus on more deductive reasoning - rather than car chases and fist fights - makes it a notch above typical television fare of that era. I would suggest renting the discs on Netflix...but for an initial taste, thanks to Hulu.com, I'll be posting two episodes online. The first, "The Past is Prologue", features some young actor who never did anything after this episode. The second, "A Force of Arms", is kind of unique...and if JJ Abrams or Joss Whedon wrote it, the Internet would be gushing over it.

Recommended.
(Note - since Hulu is moving towards a subscription-only model, no embedded video....but you're more than welcome to find it streaming online elsewhere. That's why Google was invented).

5 Reasons Why I Love Mythbusters

Mythbusters
Originally uploaded by Gordon D

As the holiday season approaches, I find myself grateful for the many blessings bestowed upon me. One of which is the discovery of Mythbusters, the show that works hard to reveal the truth behind many misconceptions. This is the only reality show that I watch on a regular basis, and taking a cue from another, irregularly updated blog, here are my five reasons for loving the show.

1. The understated, droll humor of Jamie Hyneman - Let's face it, if it weren't for his relative groundedness and down-to-earth demeanor, the show would be extremely over the top. His bio reveals a man of diverse experience; think of him as a younger, sexier James Randi. Adam Savage may be the assertive, go-get-'em leader, but Jamie easily serves as the practical counterpoint.
   
2. It promotes science and reason in a realm of the supernatural - when several prime time shows openly acknowledge a "debt" to psychic phenomena (such as Medium and Ghost Whisperer, this show emphasizes the scientific method over supernatural fakery. The team tests urban legends and other misconceptions, and quite frankly, it makes science cool again.
   
3. Kari Byron - She's smart. She's attractive. She's a redhead. If she weren't already spoken for - and she also loved Doctor Who - I would so write embarrassingly gushing blog posts about her. She and Kristen Bell are in the running for "cutest female geek pin-up queen"
   
4. Episodes now center around themes - for example, a recent show took on comic myths such as changing in a phone booth, whether punching someone can leave a ring imprint on their face, and whether a grappling hook can make a car turn suddenly. They did an episode around airplane myths. Now, it's more than just the typical here's-a-myth-let's-bust-it; they actually proved that it is more dangerous to use a cell phone while driving than driving under the influence.
   
5. The stunts range from the mundane to the F**** Yeah! - when you use a jet airplane to knock over a car, plane, and school bus, or use a decoy seal to attract sharks...or even fire random stuff out of a cannon, you know that if Mythbusters were a comic, Chris Sims would be on that like Mike Sterling on Swamp Thing. Trust me, you won't see this kind of wanton mayhem and destruction on, say, The Bachelor.
   

So this holiday, once you get your gift cards, or some horrible gift that you need to exchange...take my word for it. Buy one of the many Mythbusters DVD sets (as well as other items) from our store. Catch it on the Discovery Channel. You'll thank me later.

5 Reasons Firefly/Serenity is Better Than Star Trek

Recently, I rewatched the film Serenity, based on Joss Whedon's late, lamented Firefly series. Not only did I strongly dig it a second time, I began resenting the fact that this show never really became a great franchise...and that now, the focus is on Trek. In that regard, here is another edition of this blog's semi-regular feature (stolen from another, better blog) discussion five reasons why Firefly is better than Trek.

1. A much healthier, more realistic perception of the "final frontier" - Trek came of age in the 1960s, when the possibilities seemed endless, and that there was a dire need for optimism amongst international strife. Firefly/Serenity came of age during a much similar time - only there was a greater cynicism due to events like Watergate, Iran Contra, and many others. Firefly/Serenity reassures us that although we will make it through tough times, it doesn't pretend to be utopian - more frequently, it's practical.
2. The Hero of Canton, the Man They Call Jayne - When you're in a firefight, who do you want at your back: a pointy eared guy spouting obscure statistics...or a practical, soldier-of-fortune who is in it for his own reasons. (Plus, this takes the idea of a science fiction western literally - many of the crew on board the ship consists of archetypes from traditional Westerns). None of the main characters are simple - when the most spiritual man on the ship (in one episode) openly declares that "kneecapping" cannot be found in the Bible...that is a far cry from the spit-polished perfection of Trek.
   
3. It's Not A Black and White World - Trek, at its worst, tends to divide its good guys and bad guys - usually, human = good, alien = bad. (Deep Space 9, which approached a more morally complex Federation, is the franchise entry often reviled in Trek's revisionist history). Firefly/Serenity takes place in the "Alliance", caused (presumably) by a unified American/Chinese state - although there are hints of malevolence (especially in the Serenity movie), nothing is totally what it seems. Much like Blake's 7, our crew traffics in a morally ambiguous universe - unlike B7, they clearly are criminals, often looking out for the little guy. (Hey, isn't that more of a noir quality ? If it works, so be it)
4. Captain Mal Reynolds Can Kick Kirk's Butt - there, I said it out loud. Mal Reynolds probably shares more with Raymond Chandler's heroes than Louis L'Amour - he's a man who understands that the world is rough - but is not too rough himself. While Kirk would wait until his shirt was torn to fight back, Reynolds would more than likely draw and shoot. No "Greedo shot first" business - Reynolds combines a world-weariness with a sharply-drawn moral line. (Plus, I don't see Nathan Fillion whining and moaning when Serenity is rebooted in 2047).
5. There's a lot less to love, but it's more lovable - The original Star Trek series has 79 episodes - add TNG, DS9, Voyager, and Enterprise, and you are well on your way to burnout. Too many hours, clunky episodes...but although Firefly/Serenity isn't perfect, the fact that there are only 13 episodes (plus the movie) makes it that much more valuable. Plus, it is of a more recent vintage, and it resonates more fully with audiences.

But don't take my word for it - both are available for purchase from our new online store. Or simply borrow a friend's copy. Trust me, watch, and you'll love it.

Although not as much as you'll love Doctor Who.

Sundays in the Village: Fall Out & Shattered Visage

For Bully, whose weekly summaries of P.G. Wodehouse inspired this feature

---

(Revised 01/05/2023)

For sixteen episodes, we have seen a man - only identified as Number 6 - fight valiantly against the mysterious powers-that-be in an isolated Village. Now, after winning a psychological battle with his most determined counterpart, we now wonder...what was behind everything that happened? What's it all about?

Fall Out starts differently - a three minute recap of "Once Upon A Time" followed by a plain title card - but very quickly, goes nowhere. Admittedly conceived in a rush, it throws away any attempt at a straightforward narrative to move towards a more allegorical ending, and although its open-endedness allows for some debate, it doesn't quite seem to fit. In short, it's like a high school term paper cribbed from Wikipedia articles.

There are some excellent touches, and some really intelligent twists that, given further development, might have ended The Prisoner on an even stronger note. Although many have cited the use of the Beatles' "All You Need Is Love", the episode's use of key lines make it almost ironic - McGoohan daring us to fight even the prevailing social movement at the time. McKern's Number 2 also has some key lines, including the very telling "New allegiances...such is the price of fame...and failure." In short, the episode seems to suggest that Number 2, in his own way, was like Number 6, except he "resisted for so short a time" and failed to relinquish his number. (Plus, there's a very clever in-joke at the end of Fall Out)

The rest of the episode, however, falls extremely short. Number 6's "trial" seems more like an attempt to inject a sense of surrealism, the insertion of the song "Dry Bones" a heavy handed effort to insert religious imagery...and the final 20 minutes seem to come from out of nowhere. The last-minute nature of the writing and directing of the episode shows, and it's a frustrating view not because it doesn't directly answer questions...but because there's little internal logic to it. (To be honest, the hint of the cyclical nature of Number 6's struggle is a well-deserved stroke of genius, reminding the viewer that the struggle for freedom never truly ends). Although the episode initially sets up a typical James Bond-ian moment to meet "Number One", the viewer senses that this is all an extreme, well-planned, staged psychodrama...

....which is the assumption that 1988's graphic novel, The Prisoner: Shattered Visage (non-affiliate link) takes in its narrative. Although many fan sites like the Unmutual seem to disregard it (and I suggest checking out the Unmutual page, as well as the Anorak Zone Guide to the Prisoner, as two excellent Prisoner sites), the novel acts as more of a bookend than a full-blooded sequel. (In fact, both Steve Englehart and Jack Kirby had attempted to adapt the series in comic book form, with admittedly mixed results) However, it provides not only a great analysis, but even creates some further questions.

Thomas Drake (who is a slight nod to the show's Danger Man roots, but also a link to Sir Francis...and possibly this little-known historical figure) has helped the McKern Number 2 write a book entitled The Village Idiot. In addition, Thomas' slightly estranged wife Alice (yes, it's an obvious nod) decided to go on a world sailing expedition, but finds herself stranded on an unusual island...with a very familiar face...

Although Dean Motter's writing is superb - drawing disparate elements in a story that often feels like episodes 18 - 22 of the original series, Mark Askwith's art is...well, at times I found it unreadable, and needlessly abstract. Although it is an honest attempt to convey the shadowy, abstract world of the espionage field, it doesn't quite work at times, often looking garish and jarring. The story, though, better integrates some of the religious imagery that McGoohan was attempting (such as speaking of "Archangels" and "Gods"), reintroduces us to some old friends, and also reinforces the McKern-Number-2-as-failed-Number-6 archetype in one key sequence.

But the most clever part of Shattered Visage is how it integrates the sloppiness of Fall Out into its story, but makes it a key character moment for Number 6. By suggesting that Fall Out was staged so that Number 6 would, in effect, defy his own belief structure and take on a number, Motter suggests that no one really is fallible...and allows Number 6 to truly become a prisoner. In fact, his psychological disintegration - and the fact that Number 6 actually lost the war - makes Shattered Visage a good read for those who want to see a semi-satisfactory conclusion.

Towards the end, Number 6 makes a statement that, well, seems chilling in its implications - when asked who Number One is, he simply asks, "Does the presence of Number Two...require the existence of Number One?"
Just think about it...

But I'll end this entry with a close-to-the-end exchange, which answers nothing - and everything - at the same time:

---

"But what about your information...your secrets?"
"Safe"
"How can you be so certain?"
"None of us would be here if they weren't"

---

When I took on this effort several months ago, I never realized how tough it would be - most of the series is pitched at a high level, and requires a great attention to detail. The almost manic, paranoid tone can be a bit grating - if you are desiring to watch the series, my suggestion is watching it one or two episodes at a time, preferably over a series of weeks. Since it is available for free via Shout Factory TV and Tubi (with ads, but a good ad blocker can help), accessing the series is much easier than ever. 

However, even though the attempts to revive The Prisoner seem to be faltering (and the current WGA strike may have further impact on its development), I believe that updating the series is not only important - but necessary. Some of the episodes (such as The General) are beginning to show their age, but more importantly - there is a need for a lone cry of rebellion, of asserting indivdiual freedom, and of challenging the forces that attempt to claim our spirits, especially in the wake of 9/11. Never more in our "everything-is-out-in-the-open" times do we need a voice telling us to reclaim our lives, and that the fight for privacy and personal integrity is more than just a good idea - it's what makes us human, and is independent of time frame.

(Edit - AMC did revive the series for six episodes in 2009. Well, not so much "revived" as "reimagined" them. It wasn't very good. Big Finish also created a three-volume audio "reimagining" which I have not heard as of 2023) 

Just to compare: in 1967, the United States was involved in an unpopular war. The geopolitical situation was unstable, and threatened to collapse at any moment. Environmental concerns were becoming more prevalent, and will soon lead to drastic change in policy if unchecked. Popular culture consists primarily of franchises, outlets into fantasy, and shows which reflected national unease at world events.

In 2007, the United States is involved in an unpopular war. The geopolitical situation is unstable, and threatens to collapse at any moment. Environmental concerns are becoming more prevalent, and will soon lead to drastic change in policy if unchecked. Popular culture provides franchises, outlets into fantasy, and shows which reflect national unease at world events.

Edit - In 2023, we're living through a time of absolute political and sociological chaos. Many of us have chosen to abandon reason and individuality for the sake of conspiracy theories and political tribalism. We shrug as the last vestigates of our privacy erode, willing to exchange our personal data for the sake of some algorithm feeding us "content" designed to drive compliance and consumerism rather than independent thought. In short, contemporary culture is Patrick McGoohan's worst nightmare and The Prisoner is more relevant than ever.

Six of one, half a dozen or the other.


Be seeing you.

Sunday In the Village: The Girl Who Was Death

(Revised 01/05/2023)

This episode, is....well, kind of an anomaly. It was intended to serve as a "distraction", a light-hearted foray before the more intense "Once Upon a Time" and "Fall Out." It's the first Prisoner episode that contains a semblance of humor - the first twenty minutes have a great, almost surrealistic quality. (It's also the first overtly "spy-ish" episode, even so far as to paraphrasing an episode title from its sister series The Avengers at a key moment.) Towards the end, it even takes on some slightly Pythonesque touches, from Number 6 dressing like Sherlock Holmes to the villain's Napoleon motif. At both ends, the episode contains some great, sly humor.

Unfortunately, the middle of the episode is disjointed and rather rushed. Since this had been (according to rumor) originally a two-part Danger Man episode, it has a rushed feel. (I am not suggesting that this would work as a two-parter; mostly, there could have been better choices in how edited material was handled. As it stands, at this point in the series' production, there was a mad dash towards the end. The fact that several key components - as well as one actor - were included in "Fall Out" says more about the 11th hour nature of ending the series than a deliberate setting-up of later plot elements).

Still, there are two things about this episode (framed as a children's bedtime story) that give it some importance (as well as providing some context). First, the plot of a woman who considers Number 6 her "opposite number"...well, remember last week's scenario? This - framed through Number 6's experience, of course - may explain a lot about his feelings towards women. Having someone simultaneously "love" you - and want to kill you - might have been one of the key issues that led Number 6 to resign.

Secondly, we see that there are children in the Village, which has both chilling and hopeful connotations. Chilling, because they may be the result of parents who chose to stay in the Village, who gave up their innermost secrets - in short, these children are paying for the sins of their fathers and mothers. Truly, they are innocents in the Village's plans.

However, there's something hopeful in Number 6 being their caretaker...perhaps he is, between episodes, encouraging them not to be pushed, filed, stamped, indexed, briefed, debriefed, or numbered...and that their lives are their own.

Coming soon: Degree Absolute. Number 6 on trial. Twenty years later.

Be seeing you.

Caliban with a PhD

When the long-awaited movie version of Watchmen comes out, it will undoubtedly (as it was when published) be compared with the Outer Limits episode "The Architects of Fear". (Much as the Heroes season closer is seen as an homage to Watchmen).

However, that is an unfair and wholly inappropriate comparison - whereas the "threat that unites us all" serves as a final goal for Watchmen and Heroes, that concept drives the plot of "Architects of Fear".

(First, a little bit of a history lesson - if you think of The Outer Limits as a hipper, slightly more literate cousin of The Twilight Zone in the 1960s, you wouldn't be too far from the truth. Now, The Outer Limits is better known as a Showtime/SciFi channel series, which is one of the few "revivals" that embraces the spirit of the original. But we're talking about the original 1960s series here).

After a nuclear "near miss", the intelligensia of the world (much like Adrien Veidt) decide that there needs to be a "common threat", based on a captured alien (which - let's be honest - looks like a sock monkey with dramatic lighting). They will sacrifice one of their own, and the ballot is cast for Allen Leighton (Robert Culp) to undergo major surgery and become a Thetan. He, then, will become the "big bad" that will threaten - and then unite - humanity.

Much like Veidt in Watchmen, we see Leighton gradually losing his connections with humanity, mostly through his wife. His death faked, he is gradually losing his humanity - as he himself says at one point in the episode, he is "Caliban with a PhD" - a creature to be "afeared", but also knowing that sacrificing his humanity means possibly redeeming millions, averting a possible disaster. He realizes what he is losing, and unlike Veidt, struggles to retain some vestige of his former life. (Veidt, in contrast, removes everything that connects him to the world, including his trusted servants - and his genetically enhanced lynx. Even when Dr. Manhattan announces that he is so interested in humanity that he'll "create" some, Veidt seems more perturbed at not hearing Manhattan than at the chilling nature of that statement).

It would be easy to spoil the ending of "The Architects of Fear" - but it's a nice, almost perfect piece of 1960's science fiction television. (You can either rent the DVD set or use Netflix's "Watch Now" feature to view it). Of course, the movie will be forever linked with this episode, but there is one key difference:

One man becomes a monster; the other regains his humanity.