The script writers are getting more desperate for their petty crimes of the week. This week we suddenly meet two new characters, one of whom is the brother of a primary cast member. Everyone in town seems to know them, even though we have never seen them in any previous episode. The plot becomes more and more bizarre, and of course we have all the usual soap opera stuff going on in the local pub. The show just grinds on from week to week, trying to fill the requisite 15 episodes for the season. Watching the various couples break up and get back together again is getting extremely tiresome after over 10 episodes..
Reviews
279 Reviews
Steed Gets Hammered
24 August 2023
Basically, this is a by-the-book episode: there's a secret formula and some bad guys want to steal it. But this time their method is different: they employ the skills of a master of the black arts to control and summon those who have the information they desire. So we simply remove all the usual James Bond-y elements, and replace them with clichés from the Hammer Horror studio. There's all sorts of nonsense about spells and charms, and several wasted minutes where robed extras gyrate around, waving their arms as if on some sort of demonic teen dance show. Fortunately, this appears to be the guilty screenwriter's only contribution to the Avengers canon.
Agatha and the Curse of Ishtar
(2019 TV Movie)
The Curse of the Befuddled Viewer
15 August 2023
It's hard to explain thoroughly what an utter mess this film is. The story is flimsy and hard to follow, and the actors seem to be asleep most of the time. Special opporobrium goes to the composer, who doled out a mish-mash of a score that ranges from Arvo Part-style minimalism, to weird processed piano doodling, to electronic noise. It's as though 3 or 4 different hacks each contributed a reel. The producer is a no-name whose only credits are three knock-off Agatha Christie mysteries. Who funded him? It's telling that he couldn't get the same actress to play the lead role in all three films. Shame on PBS for foisting this on a mystery-hungry public.
A dud that starts too slowly
2 August 2023
Sure, there's a murder right off the bat, but the revelation of the actual "McGuffin" doesn't appear until 1/3 through the plot. And only AFTER that time does Steed finally show his face (pretending to be a steward on an ocean liner).
What's confusing is that there are two characters that may or may not be Steed's allies, but we don't know that for sure. A doctor character, apparently a fill-in for the departed Ian Hendry, isn't introduced properly to the audience, so we have to wait to be assured that he is a "good guy." There is no Cathy Gale, only cheap sets and stock music, even during the climactic fight scene.
I'm watching all of season 2 on Prime because I don't think I ever saw them all before. So far, I haven't found any that made me think I missed something.
What's confusing is that there are two characters that may or may not be Steed's allies, but we don't know that for sure. A doctor character, apparently a fill-in for the departed Ian Hendry, isn't introduced properly to the audience, so we have to wait to be assured that he is a "good guy." There is no Cathy Gale, only cheap sets and stock music, even during the climactic fight scene.
I'm watching all of season 2 on Prime because I don't think I ever saw them all before. So far, I haven't found any that made me think I missed something.
Very true to the book
5 May 2023
I watched this episode literally MINUTES after having finished the book, and I was pleased with how well the screenwriter adapted it for TV. (The previous book I had read, "The Case of the Lonely Heiress" didn't fare nearly as well - season 1/20.)
The opening scene is exactly as described by Gardner, and the story proceeds in line with the text. Character names haven't been changed (with minor exceptions), and the writer didn't try to shoehorn Tragg and Burger into a story where they didn't appear. (The trial takes place in San Diego.)
A few minor changes were made to condense the tricky plot, but the surprise ending still packs a punch. It's fun to see "Commissioner Gordon" from the BATMAN series playing a shady character. All in all a good episode, focusing mostly on Perry and the guest cast.
The opening scene is exactly as described by Gardner, and the story proceeds in line with the text. Character names haven't been changed (with minor exceptions), and the writer didn't try to shoehorn Tragg and Burger into a story where they didn't appear. (The trial takes place in San Diego.)
A few minor changes were made to condense the tricky plot, but the surprise ending still packs a punch. It's fun to see "Commissioner Gordon" from the BATMAN series playing a shady character. All in all a good episode, focusing mostly on Perry and the guest cast.
The show gets even further away from its origin
17 April 2023
Here's the second episode in a row which is more or less a boilerplate legal drama, which could have been on just about any "lawyer show."
The writer apparently thought that Golden needed to have the spotlight again, even though he's no longer at the law school. Why? He was an annoying character brought on in season two to give grief to Hart and the other Law Review staff members. Why should we care about what he's doing after graduation?
The plot is similar to one that would be used to greater effect in "Broadcast News" a few years later: a TV host uses sneaky editing to create a story that harms a pharmaceutical company. Golden represents the company, and its head, William Schallert, a comic-book rendition of an anti-Semite. The point is hammered home again and again, including a "minister, priest and rabbi" joke. Golden overcomes his antipathy to the client and, with the help of some other staffers on the TV show, presents a convincing case.
Our only tie to the law school here is a cute little subplot about Laura's friendship with the library janitor, played by Scatman Crothers. Without this recurring lighthearted bit, this episode would have been "The Golden Hour." And who needs it? Did Michael Tucci's contract require him to get a script with a focus on his character?
The writer apparently thought that Golden needed to have the spotlight again, even though he's no longer at the law school. Why? He was an annoying character brought on in season two to give grief to Hart and the other Law Review staff members. Why should we care about what he's doing after graduation?
The plot is similar to one that would be used to greater effect in "Broadcast News" a few years later: a TV host uses sneaky editing to create a story that harms a pharmaceutical company. Golden represents the company, and its head, William Schallert, a comic-book rendition of an anti-Semite. The point is hammered home again and again, including a "minister, priest and rabbi" joke. Golden overcomes his antipathy to the client and, with the help of some other staffers on the TV show, presents a convincing case.
Our only tie to the law school here is a cute little subplot about Laura's friendship with the library janitor, played by Scatman Crothers. Without this recurring lighthearted bit, this episode would have been "The Golden Hour." And who needs it? Did Michael Tucci's contract require him to get a script with a focus on his character?
Run-of-the-mill legal drama
17 April 2023
Another reviewer sees this episode as a rebound from the priceless "It's Only a Show." I see it as a decline, as the series begins to be a typical "lawyer show" instead of one about students. Sure, Hart is involved in helping to solve the legal problem, but this plot could have been on any number of shows of the era. There is a funny subplot in which Zeiss and Harriman quibble about the menu for the big law school dinner. Overall, not a bad episode, but compared to the first two seasons, we seem to have lost our way. And how do these seemingly frantic students find the free time to do all these other activities?
Welcome comic relief - a memorable episode
17 April 2023
Once a year, the frenetic law students take a break to do a revue, in which they spoof the law profession, their professors, and each other, in order to let off steam and have fun. This episode serves the same function in the course of this largely serious drama series. We get to see our familiar characters enjoying themselves and mocking their classmates.
As usual, there is conflict: mostly between Bell (the show's director) and the rest of the cast, who never seem to live up to his expectations. At times, it seems that the revue is going to fall apart, but once it gets going, there are legal laughs aplenty. There are two patter songs based on Gilbert and Sullivan, including Zeiss parodying Hart. Lanie Kazan fills in for an ailing Soloway, singing "You're Gonna Hear From Me" and bringing down the house. And finally, Bell reluctantly performs his Kingsfield impression (which we have seen him do in earlier episodes). James Keane does a marvelous job of capturing John Housman's eccentric delivery and mannerisms, as the faux-Kingsfield arrives at heaven's gate (with Ford as St. Peter) and discovers that he needs some "H. T." (humility training) before admittance. (Andra Millian also does a splendid impression of Mrs. Nottingham, Kingsfield's longsuffering secretary.)
A sub-plot has Kingsfield attending a conference in LA, where he stands aghast at current pop culture (breakdancing, "have a nice day," healthy food). In fact, he hates it so much that he returns to campus early, just in time to...well, you can guess.
The episode was written by Lee Kalcheim, who had written scripts for All in the Family, The Odd Couple, and many other shows. He wrote four episodes of Paper Chase, including the unforgettable "My Dinner With Kingsfield." This revue episode shows that he understood the characters well, and that he was quite good at writing parody lyrics. This was a welcome break, showing us another side of the students we have come to know well.
As usual, there is conflict: mostly between Bell (the show's director) and the rest of the cast, who never seem to live up to his expectations. At times, it seems that the revue is going to fall apart, but once it gets going, there are legal laughs aplenty. There are two patter songs based on Gilbert and Sullivan, including Zeiss parodying Hart. Lanie Kazan fills in for an ailing Soloway, singing "You're Gonna Hear From Me" and bringing down the house. And finally, Bell reluctantly performs his Kingsfield impression (which we have seen him do in earlier episodes). James Keane does a marvelous job of capturing John Housman's eccentric delivery and mannerisms, as the faux-Kingsfield arrives at heaven's gate (with Ford as St. Peter) and discovers that he needs some "H. T." (humility training) before admittance. (Andra Millian also does a splendid impression of Mrs. Nottingham, Kingsfield's longsuffering secretary.)
A sub-plot has Kingsfield attending a conference in LA, where he stands aghast at current pop culture (breakdancing, "have a nice day," healthy food). In fact, he hates it so much that he returns to campus early, just in time to...well, you can guess.
The episode was written by Lee Kalcheim, who had written scripts for All in the Family, The Odd Couple, and many other shows. He wrote four episodes of Paper Chase, including the unforgettable "My Dinner With Kingsfield." This revue episode shows that he understood the characters well, and that he was quite good at writing parody lyrics. This was a welcome break, showing us another side of the students we have come to know well.
The Cat's-Paw
(1934)
A clunker of a talkie
15 April 2023
I'm a huge fan of Harold Lloyd, the star of the silent screen, but not so much of his talkie era. It's not his fault - he's still a likeable character and his voice was pleasant enough. But when the laughs depend on the script rather than the visuals, the peculiar talent of Lloyd is sidelined.
Not that there aren't some funny things on screen - it's just that the flashes of wit and zippy pacing are gone. Harold plays a boring character, a fish out of water who gets caught up in city politics against his will. He uses his Chinese connections and wisdom (he's a visiting missionary from Asia) to come up with a way to beat the city system.
It's probably funnier than a lot of today's comedies, but because of its time frame there are racial slurs dropped casually throughout the film. (The Chinese characters are presented with respect in the script, but the white characters refer to them by an old-fashioned pejorative.) Other than that, the worst language is "Holy Cats!" The supporting cast is excellent, and the give-and-take between Lloyd and George Berbier is particularly enjoyable.
Not that there aren't some funny things on screen - it's just that the flashes of wit and zippy pacing are gone. Harold plays a boring character, a fish out of water who gets caught up in city politics against his will. He uses his Chinese connections and wisdom (he's a visiting missionary from Asia) to come up with a way to beat the city system.
It's probably funnier than a lot of today's comedies, but because of its time frame there are racial slurs dropped casually throughout the film. (The Chinese characters are presented with respect in the script, but the white characters refer to them by an old-fashioned pejorative.) Other than that, the worst language is "Holy Cats!" The supporting cast is excellent, and the give-and-take between Lloyd and George Berbier is particularly enjoyable.
The Milky Way
(1936)
OK, but not outstanding
15 April 2023
I recently became a Harold Lloyd fan, drawn in by his classic silent features of the 1920s. The DVD set I purchased also included some talkies, which (so far) haven't impressed me.
Lloyd is always a likeable guy, and this character is well-suited to him. But it could have been played by just about ANY comedic actor of the era (as proven when it was remade a decade later wtih Danny Kaye). Lloyd's earlier films stood out because of their incredible visual humor. But when the jokes are mostly spoken, the charm of the visuals is lost. This film was better than the previous talkie "The Cat's Paw," but not by much. It's no surprise that after a few more talkies, Lloyd bowed out of the screen biz.
Lloyd is always a likeable guy, and this character is well-suited to him. But it could have been played by just about ANY comedic actor of the era (as proven when it was remade a decade later wtih Danny Kaye). Lloyd's earlier films stood out because of their incredible visual humor. But when the jokes are mostly spoken, the charm of the visuals is lost. This film was better than the previous talkie "The Cat's Paw," but not by much. It's no surprise that after a few more talkies, Lloyd bowed out of the screen biz.
Serling redux
11 December 2022
Warning: Spoilers
Although there are some new twists and layers in this plot, it is pretty much a retread of a concept done by Rod Serling in a November 1971 episode of "Night Gallery" called "Midnight Never Ends." The characters on screen are at the mercy of an author, who cannot figure out how to advance the plot. The twist here is that the characters begin to take their fate into their own hands. There are a lot of funny jabs against the clichés of television mystery stories. Steve plays a fairly normal character for a change, while Reece plays a cop with a peculiar problem. Two familiar female faces round out the cast. The episode starts with a few scary moments, but as the plot progresses, it becomes more comedic than horrific.
How progressive!
19 June 2022
We've watched the earlier seasons of BORGEN and enjoyed them, but I almost gave up on the new season. We're used to the strong feminist viewpoint, but right away we also got dollops of climate nonsense, animal rights drivel, and the usual uninformed anti-fossil fuel rants. Looks like things change a bit in episode 3, but I'm sure all will be wrapped up in a lovely progressive bow by the end. The self-righteous smugness of the progressive entertainment elite knows no bounds.
Waste of time
6 June 2022
Warning: Spoilers
If you manage to stay awake until the end of this episode, you will learn one tiny important bit of information. The last half hour is a boring monologue by a secondary character. There is plenty of blood, violence, and fighting with monsters, so if that equals a ten for you, you will enjoy this episode.
Unnecessary detour
4 January 2022
For football fans only
4 September 2021
I am a big fan of this show, but I am definitely not a fan of British football. I assume that this episode is full of hilarious jokes that football fans will find amusing, but I found it all very dull. Even the big surprise ending meant very little to me. I hope the rest of the season improves to the usual standards.
ABC Comedy News
(1973–1974)
A missing comedy gem from the 70s
11 July 2021
For years it was impossible to find any information about this show, or proof that it had even existed. I'm so glad there is a glimmer of hope here, and a full episode uploaded to YouTube to prove that my memory is correct!
This late-night show came on sporadically in the "Johnny Carson" time slot over at ABC. Johnny, of course, walked all over it, which was a shame because it had some wonderful talent: Bob and Ray, Fannie Flagg, Kenneth Mars, Mort Sahl, Dick Gregory, and my favorite, the musical madman PDQ Bach (Prof. Peter Schickele).
I remember having to look each week to see if an episode was coming. It got very little promotion, and vanished after only a few episodes (there is still apparently no information on the exact run of the show). It predated SNL's newscasts, Not Necessarily the News, and other parody programs.
ABC could never quite come up with a viable alternative to Carson, but Comedy News was a good try.
This late-night show came on sporadically in the "Johnny Carson" time slot over at ABC. Johnny, of course, walked all over it, which was a shame because it had some wonderful talent: Bob and Ray, Fannie Flagg, Kenneth Mars, Mort Sahl, Dick Gregory, and my favorite, the musical madman PDQ Bach (Prof. Peter Schickele).
I remember having to look each week to see if an episode was coming. It got very little promotion, and vanished after only a few episodes (there is still apparently no information on the exact run of the show). It predated SNL's newscasts, Not Necessarily the News, and other parody programs.
ABC could never quite come up with a viable alternative to Carson, but Comedy News was a good try.
Avengers in Espionage Mode
24 March 2021
One of the attractions of The Avengers is the variety of story types: fantasy, espionage, science fiction, revenge, etc. This one falls solidly in the espionage category, featuring Tara King trying to breach the security of a top-secret government project. Why is she doing it, and who is she working for? Those questions drive the plot along, with the usual band of quirky secondary characters, including a villain who admires his own elegant feet, and an old lady who reads lips. There are plenty of standard spy tropes, including hidden cameras, and messages hidden in phone booths, plus a superbly choreographed fight scene at the end which may be the most acrobatically satisfying fight of the entire series. The final tag scene is classic Avengers, and is long enough to give you a good hearing of Laurie Johnson's "Tara" theme. Howard Blake, filling in for Johnson on the main score, does a seamless job of integrating with the standard "Avengers" sound, with the addition of what sounds like a Wurli electric piano. Don Chaffey (who directed some of my favorite PRISONER episodes) does an artistic job with interesting shots and angles.
I had not watched the Tara episodes for many years, and was expecting to be disappointed when I binged them recently. However, with only a couple of exceptions, these stories hold up well in the AVENGERS canon.
I had not watched the Tara episodes for many years, and was expecting to be disappointed when I binged them recently. However, with only a couple of exceptions, these stories hold up well in the AVENGERS canon.
Out of the ordinary
22 March 2021
Some people count PANDORA among their least favorites, but I give it high marks for trying a different approach, and for a good Brian Clemens story with a wonderful ending. This is not a story about a criminal mastermind, or a Russian spy, or a sinister plot by or against rich British businessmen. "The Ministry" only plays a tangential part, because it was a chance meeting in the office that drew Tara into a plot to dupe a rich old man. I won't give away any other plot points, so that you can savor them yourself in the proper order. There's a wonderful supporting cast, including Avengers favorite Julian Glover, the prissy James Cossins, and the half-mad John Laurie. As icing on the cake, composer Laurie Johnson created two new themes for this episode: a melancholy harmonica theme to represent the Great War, and a wistful "love theme" for the mysterious PANDORA.
Homicide with Old Footage
19 March 2021
You know you're in trouble when you're past the 9-minute mark and you haven't seen Steed or Tara since the credits. The dread increases when it becomes apparent that the star of the episode is Mother, whose very presence is one of the biggest blots on season seven. Apparently, the producers were trying to salvage footage from an episode that was shot and too terrible to use, so they chopped it to bits (along with scenes from other old episodes) and had Mother talk over it, with occasional accompaniment from Laurie Johnson's tack piano. Despite the humorous bits by Mother's old aunties, this script is dead in the water and a mess to follow with any sense of logic. I guess it was a budget-saver, but it was so embarrassing that they didn't air it until the show was on its last legs.
Charmingly British
26 February 2021
One reviewer gave this episode low marks for being "too British," but that's exactly the reason why I gave it a "nine." It takes on two quintessential British institutions - the military and the "gentleman's gentleman" - and mixes them up with the usual dash of murder and espionage. Sure, it's a little silly, but isn't it fun to see Steed showing up with various styles of facial hair to match the man he's going to interview? How about the "butling school," in which stuffy butlers practice answering the door or ironing the master's trousers? And then there's the delightful scene in which Emma fends off the advances of Denis Quilley, with the help of Steed (as butler) interrupting the proceedings for an endless string of reasons? There are plenty of British eccentrics and other stereotypical characters, which are hallmarks of the series.
I should also point out the huge contribution of composer Laurie Johnson, who wrote many new "military-style" music cues for this episode. My favorite was early on, when the "Sailor's Hornpipe" is pitted contrapuntally against the Avengers theme. He was an expert with brass writing, and it shows in this score.
There are many kinds of episodes in THE AVENGERS canon, from the truly frightening to the light and airy. This one falls at the latter end of the spectrum, but is no less of an episode for all that.
I should also point out the huge contribution of composer Laurie Johnson, who wrote many new "military-style" music cues for this episode. My favorite was early on, when the "Sailor's Hornpipe" is pitted contrapuntally against the Avengers theme. He was an expert with brass writing, and it shows in this score.
There are many kinds of episodes in THE AVENGERS canon, from the truly frightening to the light and airy. This one falls at the latter end of the spectrum, but is no less of an episode for all that.
Sad start for season four
13 December 2020
One of the worst episodes of the first three seasons was "The Cycling Tour," a dud primarily written by Palin & Jones. It was an episode-long story which fell flat, and lacked the zaniness of the usual MPFC show. So why, WHY would they make the same mistake again with this boring story about the Montgolfier brothers?
First, the show is obviously missing the presence of John Cleese, and without him, there is no Cleese/Chapman material in the show. Second, the Pythons rely on what would later be an SNL staple: repeating the same jokes until they become tiresome. There are a couple of moments which provoke a chuckle, but that's about it. What appears to be the only Eric Idle script is one of his typical droning monlogues, this time in faux-Norwegian, which also has about one laugh in three minutes. Terry Gilliam is also woefully underused.
One bright spot is the arrival of Bonzo Dog Band's Neil Innes, with whom the boys had worked on a previous show. His only contribution here is a girl-group song about George III, but he would return in later episodes...culminating in his appearance as Sir Robin's Minstrel in "Holy Grail."
First, the show is obviously missing the presence of John Cleese, and without him, there is no Cleese/Chapman material in the show. Second, the Pythons rely on what would later be an SNL staple: repeating the same jokes until they become tiresome. There are a couple of moments which provoke a chuckle, but that's about it. What appears to be the only Eric Idle script is one of his typical droning monlogues, this time in faux-Norwegian, which also has about one laugh in three minutes. Terry Gilliam is also woefully underused.
One bright spot is the arrival of Bonzo Dog Band's Neil Innes, with whom the boys had worked on a previous show. His only contribution here is a girl-group song about George III, but he would return in later episodes...culminating in his appearance as Sir Robin's Minstrel in "Holy Grail."
A colossal misfire for the Pythons
30 November 2020
Michael Palin admits in "The Pythons" that by the end of season three, Cleese was bored, and they were all running out of good material. He and Terry Jones had come up with the "Cycling Tour" idea as a project for the two of them to do by themselves, but when the Pythons were coming short of new ideas, they pitched it to the others, who added their own bits.
This has always been my least favorite episode of the first three seasons, an experiment that failed dismally. Mr. Pither is a character that might have been funny in a 3-minute sketch, but not as the anchor for an entire story. The same goes for Mr. Gulliver, whose changes of personality are funny for about five seconds apiece. Chapman's Chinese ambassador is an overlong and embarrassing segment; the firing squad scene would have made a good brief sketch but goes on too long. Doing a funny accent is not an anchor for an entire segment.
What made the "normal" episodes work so well was the frequent change of story line, the different personalities of the writing teams, and the craziness of Gilliam's animations (which are drastically underused here). When I first saw this episode almost half a century ago I was disappointed; watching it again today left me with the same feeling.
This has always been my least favorite episode of the first three seasons, an experiment that failed dismally. Mr. Pither is a character that might have been funny in a 3-minute sketch, but not as the anchor for an entire story. The same goes for Mr. Gulliver, whose changes of personality are funny for about five seconds apiece. Chapman's Chinese ambassador is an overlong and embarrassing segment; the firing squad scene would have made a good brief sketch but goes on too long. Doing a funny accent is not an anchor for an entire segment.
What made the "normal" episodes work so well was the frequent change of story line, the different personalities of the writing teams, and the craziness of Gilliam's animations (which are drastically underused here). When I first saw this episode almost half a century ago I was disappointed; watching it again today left me with the same feeling.
Another bright spot in season 3
11 November 2020
This was screenwriter K C. Alison's only contribution to LIS, and that's a shame. This powerful story is one of the most memorable from season three.
A major strength of this story is allowing Guy Williams to take center stage, playing good and evil versions of John Robinson. Not only does he get some good action scenes, he also shows his ability to convey emotions through the smallest of gestures and facial expressions. Mark Goddard likewise plays two roles, and his sinister anti-West is truly creepy, with his five-o'clock shadow and droopy eyellid.
The Will/Smith/Robot troika plays a smaller part than usual. Will has some strong lines when confronting his "dad," and later an emotional scene which triggers the famous "happy family" music cue. The Robot continues his evolution into a metal joke machine, including a scene where he too confronts his "evil twin." Voice man Dick Tufeld must have had fun with this one.
As with the recent "Day at the Zoo" episode, the visual side of "Anti-Matter Man" depends heavily on "limbo sets" - dark, expressionistic vistas lit as needed for maximum effect. The pathway between worlds was about as effective as the LIS special effects could make it: a truly eerie dreamscape with smoking dry ice and glittery gauze.
It's good to see how good LIS could be when the creative team thought outside the box.
A major strength of this story is allowing Guy Williams to take center stage, playing good and evil versions of John Robinson. Not only does he get some good action scenes, he also shows his ability to convey emotions through the smallest of gestures and facial expressions. Mark Goddard likewise plays two roles, and his sinister anti-West is truly creepy, with his five-o'clock shadow and droopy eyellid.
The Will/Smith/Robot troika plays a smaller part than usual. Will has some strong lines when confronting his "dad," and later an emotional scene which triggers the famous "happy family" music cue. The Robot continues his evolution into a metal joke machine, including a scene where he too confronts his "evil twin." Voice man Dick Tufeld must have had fun with this one.
As with the recent "Day at the Zoo" episode, the visual side of "Anti-Matter Man" depends heavily on "limbo sets" - dark, expressionistic vistas lit as needed for maximum effect. The pathway between worlds was about as effective as the LIS special effects could make it: a truly eerie dreamscape with smoking dry ice and glittery gauze.
It's good to see how good LIS could be when the creative team thought outside the box.
Season 3 is running low on deutronium
9 November 2020
Warning: Spoilers
What a strange mess this episode is! At least the usual planet set has been spiced up a bit, but what a plot! A mysterious ice princess thaws out of a rock, and she's being pursued by a silver-colored Mexican bandito. Does this make any sense at all? Apparently, he's trying to extort ransom money from her abduction, but the LOS crew (minus John/Maureen/Penny) thwart him at every turn. At the end, she merely raises her arms and teleports herself back to her planet, thus rendering the entirety of the action a waste of time. Will asks the question that was probably asked by the producer when he read the script, and which every viewer is now asking: "If she could do that, why didn't she just do it earlier?" He gets a non-answer from the Robot, thus admitting the giant plot hole.
Another amazing bit of idiocy is that the Robot can become drunk if someone pours alcohol into his system. It's a great gag but totally out of character (like the robot falling in love a few episodes earlier). Don and Judy, left more or less by themselves, continue to act as brother and sister without a hint of romance.
Gerald Fried becomes the fourth composer commissioned to write a new score for season 3, and as with the three previous, it's a lightweight bit of fluff with virtually nothing that can be used in succeeding episodes. (There's a parody of Khachaturian's "Sabre Dance" during a fight between Don and Chavo, and some faux-Mexican themes.)
Another dud, as season three descends into darkness.
Another amazing bit of idiocy is that the Robot can become drunk if someone pours alcohol into his system. It's a great gag but totally out of character (like the robot falling in love a few episodes earlier). Don and Judy, left more or less by themselves, continue to act as brother and sister without a hint of romance.
Gerald Fried becomes the fourth composer commissioned to write a new score for season 3, and as with the three previous, it's a lightweight bit of fluff with virtually nothing that can be used in succeeding episodes. (There's a parody of Khachaturian's "Sabre Dance" during a fight between Don and Chavo, and some faux-Mexican themes.)
Another dud, as season three descends into darkness.
Retreaded plot from season one, with added silliness
6 November 2020
When LOS first hit the airwaves, I was nine years old and took the series very seriously. One of the most memorable stories from season one was the two-part THE KEEPER, starring the incomparable Michael Rennie. He was an intergalactic zookeeper who decided that Don and Judy would make a nice couple - in a cage. The end of the first hour, when monsters of all sorts emerge from the Keeper's ship, had me petrified.
So now, after more than 50 years, I got around to watching a story I don't remember from the first time around: "A Day at the Zoo." Now, instead of a tall, sinister alien we have the bumptious Leonard Stone (Mr. Beauregarde from WILLY WONKA), assisted by a cave boy (looking like a surfer dude in a fur). He wants to take the entire crew of the Jupiter 2 on a galactic tour. And he starts by scaring Penny with a sort of Mardi Gras face mask.
There is little suspense here. Most of the hour is played out on a dark soundstage where bits and pieces (jail cells) are illuminated as needed, thus saving a lot of money on set design. It's amusing to see how the Stone character decorated a girl's bedroom (very 60s!). Penny finally has more to do in this story, but as with previous Penny episodes, the writer has paired her up with an alien weirdo instead of a "real boy." LOS continues to be fairly romance-free, except when it comes to ridiculous trysts involving Smith and various aliens, or the Robot with a female robot.
As in THE KEEPER, Don and Judy are put on display - this time in a sitcom-style apartment - with aliens peering at them through a frosty window (could they indeed see anything)? But instead of playing this scene for terror, Judy lightens it up by making faces at her tormentors.
Season 3 started out reasonably strong. It appeared as if the "supporting" cast had insisted on more screen time (as opposed to a long bout of Smith/Will/Robot episodes in season 2). John Robinson even had a chance to flex his Zorro muscles a few times, and the women had a few more lines. But after the "space hippie" episode, it was all downhill, including this lightweight episode. Back to the "monster of the week" mentality.
This is the third episode of season 3 in which Irwin Allen allowed a new music score to be written, but once again it's a dud. Joining Steiner and Mullendore before him, the great orchestrator Alexander Courage delivers a flimsy 60s sitcom score, not at all in character with the music of the first season.
So now, after more than 50 years, I got around to watching a story I don't remember from the first time around: "A Day at the Zoo." Now, instead of a tall, sinister alien we have the bumptious Leonard Stone (Mr. Beauregarde from WILLY WONKA), assisted by a cave boy (looking like a surfer dude in a fur). He wants to take the entire crew of the Jupiter 2 on a galactic tour. And he starts by scaring Penny with a sort of Mardi Gras face mask.
There is little suspense here. Most of the hour is played out on a dark soundstage where bits and pieces (jail cells) are illuminated as needed, thus saving a lot of money on set design. It's amusing to see how the Stone character decorated a girl's bedroom (very 60s!). Penny finally has more to do in this story, but as with previous Penny episodes, the writer has paired her up with an alien weirdo instead of a "real boy." LOS continues to be fairly romance-free, except when it comes to ridiculous trysts involving Smith and various aliens, or the Robot with a female robot.
As in THE KEEPER, Don and Judy are put on display - this time in a sitcom-style apartment - with aliens peering at them through a frosty window (could they indeed see anything)? But instead of playing this scene for terror, Judy lightens it up by making faces at her tormentors.
Season 3 started out reasonably strong. It appeared as if the "supporting" cast had insisted on more screen time (as opposed to a long bout of Smith/Will/Robot episodes in season 2). John Robinson even had a chance to flex his Zorro muscles a few times, and the women had a few more lines. But after the "space hippie" episode, it was all downhill, including this lightweight episode. Back to the "monster of the week" mentality.
This is the third episode of season 3 in which Irwin Allen allowed a new music score to be written, but once again it's a dud. Joining Steiner and Mullendore before him, the great orchestrator Alexander Courage delivers a flimsy 60s sitcom score, not at all in character with the music of the first season.
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