Supergirl

DVD, Smallville S10 (Supergirl)

Small-time anti-immigration radio host Gordon Godfrey becomes the host of the mysterious black cloud that came through a tear in the Universe at the beginning of the season and, continuing the trend of the first two episodes, we have our third returning character in as many episodes with Clark's cousin Kara, aka Supergirl (title gives it away!), who has returned to Earth sent by Jor-El to mop up this dark mess as he has no faith in his son. So she's there, and her plan is to reveal herself to the world, thereby attracting the evil to her so she can battle it, only it doesn't work out that way. Taken at face value, especially with a jaunt to a creepy club that wouldn't have looked out of place in 'The Matrix' trilogy, full of chains and shiny black leather, you'd think this was a very basic episode, but it does in fact go a little deeper and have things to say, and pertinent things, too, for Clark: should he give up keeping his abilities a secret and become a beacon of hope that is fully public, as Kara has done? And is his self doubt what is holding him back from being who he should be?

Godfrey is inspired under possession of the blackness to wage a media war against vigilantes and their special powers, and doubts begin to creep in to the general population. Not that there weren't already doubts, it's always been a battle to keep saving people in spite of their blind ignorance and stupidity that can make them laud one day and condemn the next, but the issue isn't simply about super-powered people: Lois is back from Africa (so we never did get a single scene of Perry White!), and on full reportage mode, going after Godfrey to discredit him so his actions won't harm The Blur, or Clark, as she knows he is. I was surprised that Godfrey, even under the control of some weird alien creature wouldn't have recognised Lois was his chauffeur, or when she dresses up in leather as a patron of the dodgy club, why he didn't instantly realise who she was, especially as she'd made herself and her agenda known to him in close proximity! Her plan backfires and she ends up literally tied in knots as bait to draw in a superhero for the darkness to take over, and with Clark still feeling the doubts over his ability to carry off the destiny he's always trained and sweated for, it would have succeeded in preying on him since it was able to use doubt as an entry, if not for Kara stepping into the breach.

I liked that idea in the story, as doubt is something everyone feels, no one is really, truly 'pure of heart' as Kara is, with no wrong, no ulterior motive and completely selfless, but there were touching moments when she and Lois discuss such things, and even more when Kara tries to teach Clark to fly on top of the windmill in Smallville - it's like the scene in 'Star Trek: Insurrection' where Anij teaches Picard to slow down time and live in the moment, this time a butterfly the emblem for Clark to concentrate on instead of trying to block out all the noise super-hearing curses him with. It's a beautiful moment, but it is just a moment that he's soaring up into the air, because like the apostle Peter walking on the water, he suddenly looks down and loses faith, plummeting through the roof of the barn and proving he's not yet ready to face the evil. The person really affected by this week's theme of identity (and if they hadn't already used that title it would have been perfect for this one), is Oliver Queen, who, like Lana Lang, talks to his dead parents, recognising a resolve in himself that he can no longer accept others risking themselves for him. It culminates in his announcement to a group of reporters that he is, in fact, Green Arrow, much to Lois' surprise, since she went to all the trouble of setting Godfrey up to prevent the final chapter of his book (where he unmasks Arrow), from being published. But Oliver feels that it's the only way, although I have to suggest that the whole purpose of having a secret identity is to protect those around you!

Still, it is a touching decision to reach, mainly from his experience with Chloe - Lois thinks Chloe will be back, and I, like Oliver, hope so too, as it wouldn't be fair to finish out the series without her. There are things that prevent the episode from quite reaching its potential, with some convenient shortcuts for Clark and Kara to come to Lois' aid: they don't know that Godfrey is the host of the darkness, but they see him talking on TV and can hear that his voice sounds evil, or something! Then they look on news feeds and find a shot of him going to a club and it just so happens that Clark sees a shot of Lois as the chauffeur! Totally ridiculous, and they could have come up with an organic way for them to discover her situation and Godfrey's. Not that taking easy shortcuts is a new thing on the series, it's all about that, one reason it's rarely satisfactory. But even saying that I'd give this the accolade of being the best of the three episodes so far, even though by a small margin, for its good character scenes.

That doesn't mean I didn't notice the poor quality of the CGI, which definitely has the air of being done on the cheap this season, whether it was Kara holding up the sign (which almost turned into a fabulous save by Clark), to the cloud of ravens smashing through Godfrey's window, to Clark and Kara on top of the windmill - it all looked fake, and I don't think it's just the time it was made. It's probably also why the main cast has been stripped down to four (Tom Welling, Erica Durance, Cassidy Freeman, who doesn't appear this episode, and Justin Hartley), which I at first thought was so they could have recurring characters more often, but now I suspect is also a budgetary move to make a tenth season viable. You can tell that things, which they're trying to do big, are looking ever smaller, like the rally for Godfrey's book with its small audience, Clark and Lois talking off to the side so as to disguise the scale of it, and a number of scenes like that where things were very focused in. Ironic, then, that it's the small, personal moments that make this close to being a good episode: Clark and Kara on the windmill, Oliver talking to his parents, and Lois and Kara discussing whether a super-person needs anyone else. If they concentrated on these moments instead of being tied up with bombast and the expectations of fights and large scale action, the series would be much improved.

**

Star Trek: Discovery - Cornucopia of Detail

Star Trek: Discovery - Cornucopia of Detail

It's no longer possible to write posts on individual bits and pieces, those tiny tidbits released in a slow dribble over months at a time, because of the sheer deluge of pictures, information and reveals. As much as I like hearing new things about 'DSC' I'm wondering if it's too much now, as so much plot and character detail, not to mention visuals, have been freely loosed as the day approaches when 'Star Trek' finally returns to TV, more than twelve years since it last graced the airwaves. At this stage I don't even know how I'm going to watch it, which is a slight hitch - it's difficult to review episodes without actually seeing them (although some people…). I don't have continuous internet access, so Netflix isn't really for me, and after discovering that it excludes Mac OS users from downloading its content (even though Windows and iOS users are fully catered for!), it was even more disappointing. I'm hoping there will be a DVD release since the makers know Trek followers love to collect things, but as to when that's likely, well, let's just say it could be quite a wait (mind you, if you've already waited over a decade, what's another year or so?). Despite this unfortunate oversight, it hasn't dampened my anticipation for new Trek. Other things have, slightly, but not that!

Where to start? I've already written about the uniforms and the apparent leaning away from established onscreen canon, but it's worth revisiting the issue again now that so much more information has gone public. I have to say, regarding the exterior ship design of both the USS Shenzhou and USS Discovery, I'm liking them. I'd already found the initial design of Discovery had grown on me, in spite of (or perhaps in part because of), all the negative comments about the mock-up trailer last year, and while it hasn't really changed much, I still think it's not bad - I always like a good long nacelle. I'm really hoping the Shenzhou doesn't bite it early on because I actually like that design more, an attractive continuation of the NX-Class of 'Enterprise.' The pair of ships together seem to bridge the gap between time periods of the chronological series' 'Enterprise' and 'TOS,' which is reassuring to a point, but I'm still not thrilled about the internal design looking so foreign and advanced compared to the NCC-1701. I still fervently hope that they don't go down the route of redesigning all the 'TOS' design ethics to suit modern viewer expectation, especially since all the other series' have been very careful to pay tribute and shore up the reality of this era's style of technology. I also hope the series lives up to its initial promise of ships and crews, not just concentrating on one, as that has the capability to be something different than just another crew on another ship, boldly going it alone.

Equally, I hope it doesn't turn into some big galactic issue, because as we saw with the Delphic Expanse and the Xindi, you can do that, but ultimately you have to undo it all, and the bigger you go, the more you have to undo to fit into established history. Suggestions like Burnham's actions affecting the entire Universe (or the latest marketing slogan: 'At the edge of the Universe, discovery begins'), for example, are a bit cringe-making, since how can anything that happens in our small Galaxy affect the rest of a continually expanding Universe? I get they're just colloquial terms to get across the magnitude, and it's not something to be overly concerned about, but attention to detail is important. Very important. In some areas that detail sounds like it is bearing out what they've been promising: the idea that we'll be getting Klingon-only scenes where the aliens converse in their own language with subtitles for us puny humans, is magnificent, and something I always wished for more of in past incarnations. The design, or I should say, redesign of the Klingons themselves is still a bit of a sore point, but hope has returned now we know for sure that T'Kuvma and Kol don't have the ugly domed heads of the Klingons we first saw. This suggests that there will be more than one type of Klingon, and I really hope some of them don't have this shaving craze, and sprout a little of the iconic hair. It also remains to be seen whether flatheads will be part of this Empire. They've announced that there'll be twenty-four Houses (I always think it's unwise to give such exacting numbers, as canon needs to have a little wiggle room in future), so it's possible there will be some Houses of those that were genetically altered, which I would love, but it's equally possible that at this time the flatheads are in disgrace and have yet to gain a firm foothold on Klingon society. Even if they were outcasts that would be enough for me!

Kol is apparently of the House of Kor (fantastic - but how are they going to deal with Kor himself, who was initially a flathead, but later reverted to traditional bumpy, assuming they show him?), there must be a House of Duras, and of course, a House of Mogh. But will there be a House of Martok? It's surprising how little of these Klingon Houses have been revealed in Trek history, so it is a ripe area to explore, but I hope they keep to the few established facts that we know: namely the head ridges of a family are all similar. If they can get that right it will go a long way towards my acceptance of the look of their clothing and ships, which I find overly detailed and not in the Trek 'clean' aesthetic that they've always had. The 'Torchbearer,' which brings to mind the Uruk-Hai Berserker in 'The Two Towers,' if not in the suit design, is extremely intricate, and the costumes don't exactly look like good fighting gear, which is what the Klingons care most about. But if you look at the model that was on display you can see d'k tagh daggers, or some variation (sadly, looking rather more ornate than the functional and favourite later Klingon weapons), and further evidence that Klingons do remember what they looked like with hair - just as with the sarcophagus, you can see an old-style Klingon head with flowing locks. They seem proud these designs are so complex they couldn't be made without 3D printing, but as Mr. Scott said, the fancier they are, the easier to gum up the works, or words to that effect.

I've never found the Klingons to be scary. Fascinating, yes. Deeply cultured. But not frightening in and of themselves, so I don't see why they're going down the route of trying to make them scary, as sounds like the intention with the weird coloured eyes, very dark complexion and stripping away of hair so their pointed ridges stand out more starkly. Why not make a new race that hasn't been seen before if you want a nasty, scary enemy (and sadly, they've also said they won't be exploring other established races, something which shows how little you can do in a season if it's one continuous story, as opposed to a smattering of standalones - they also said it will be more serialised than even the later seasons of 'DS9,' so the likelihood of actors returning as their characters from other series', time travel, or those episodes where they deeply explored specific races or characters, look less and less likely). It's the name recognition of brand Klingon, obviously, they're using as the draw, which is why I still have some trepidation over the guiding decisions behind the series, with no single person there who was handed the Roddenberry torch, as Rick Berman was, to carefully oversee what can and can't be done, knows what has and hasn't been done, and can keep an overarching vision for all aspects of the franchise. I also hope they don't choose to redesign familiar aliens just for the sake of spending money, because so much of what has gone before is iconic. 'Enterprise' updated some 'TOS' aliens, but they were done in a respectful way that added to the look, and were the culmination of over a decade's continuous development in makeup. I still would've liked to see trotters on the Tellarites and deeper-set eyes, but in so many ways Michael Westmore and his team did an incredible job defining the look of the aliens and I don't want to see them undo that because they feel this is 'their' Trek. It isn't, they're just the current torchbearers and they need to respect the shoulders they're standing on.

Of all the Klingon Houses, the most famous is Worf's, the House of Mogh. It still feels sad to think we could have had Michael Dorn reprise his 'Star Trek VI' role of Colonel Worf, which would have been absolutely amazing to see. Hardly unprecedented, either, since he happily moved from 'TNG' to 'DS9,' but as we know the contract negotiations prevented an artistic delight from happening (though there are rumours that Captain/Admiral/President Archer could be in the pilot to keep up the tradition of a character from a previous series appearing to send them on their way, though this is pure rumour and as far as I know has absolutely no basis in fact, beyond wishful thinking - my own as much as anyone else's). On the one hand I can see it from Dorn's perspective: he was offered a pittance compared to what he got for his last Worf appearance in 'Star Trek Nemesis,' the tenth film in the series, fourth in the 'TNG' series, and sadly, the one that bombed and put the Prime Universe films to bed. He was a big star of Trek, I would even say the fifth best known character of all (after Kirk, Spock, Picard and Data), and certainly one of the absolute greatest. At the same time I can see it from the other perspective, that this is a business, and as much as it's unfair, you're only as good as your last film, and Dorn hasn't had any mainstream effect in anything since 'Nemesis,' and in that his character wasn't very well used.

The trouble is, that pull between value of an artist and recognition of short memories, often decides the outcome of such things. Just look at the effort to get William Shatner to guest star in 'Enterprise' which fell through again on financial negotiation, but also on creative ones. If you pay an actor enough then they'll probably be willing to do most things. It makes sense, that's how they earn their bread and butter and the stock market of actors is always rising and falling based on the success or failure of their latest venture, so they must choose wisely and well. Navigating the vagaries of such a business must be a tough part of the job, especially if you only want to make good art. The thing with Shatner and Dorn is that they've had their successes and they probably don't need to act. It's also true that they're older men now. All this means if you want someone of that stature in the Trek world, and you want them in your Trek, you need to make it worth their while. Still, I wish Dorn had been so excited to come on board a new Trek that he'd accepted the demands of falling stock and made a new name for himself among a younger generation. The irony is that if you don't get out there you do get forgotten. It makes me think of Harold Lloyd and his famous position in the silent films canon, and that because he didn't need the money and held onto his films, rather than selling them off, they were kept in a vault for years and not seen until much later, so generations weren't exposed to his brilliance and subsequently he isn't the first name most people would think of: Buster Keaton and Charlie Chaplin reel out of people's mouths, when Lloyd has as much right to be remembered by popular culture.

I'm not saying that Dorn will be forgotten, his Worf will live on in 'TNG,' 'DS9' and the films, as a permanent monument. I'm just saying he could have taken an even greater position. Part of it probably has to do with his failed campaign (much like George Takei in the Nineties), to get himself a Trek series based around his character, and the subsequent rejection of this proposal. The thing is, if his character in 'DSC' had been as wildly popular as Worf there could have been the possibility of a spinoff, but we'll probably never know now. The reason I suggest this is because of a new interview with Bryan Fuller that has recently come out, surprisingly laying some new facts into the light about what happened with him as show-runner: one of the most fascinating revelations is that his original premise was for the rumoured anthology series. It just shows that sometimes rumours are true, and this one was shot down in favour of one straight up series, but it turns out he wanted to do seasons in each of the main time periods: pre-'TOS' (basically what 'DSC' became), during 'TOS' (I'm not sure I would have liked that, especially if they had done what they did with 'DSC' in changing the technological look), and much more excitingly, the 'TNG' and post-'TNG' eras! Just imagine having a season set in the heart of the Dominion War, or the aftermath or buildup to the destruction of Romulus… The potential is wonderful.

The studio wasn't having it, they wanted the success of the Kelvin Timeline films transferred to TV, and it's interesting to note that Fuller even wanted uniforms that were closer to 'TOS' than a complete departure as they are now (I'm still hoping the explanation will be that these are special ships and so have a different uniform to the Starfleet standard - easily explainable, much more than going from Pike-era to 'TOS' with these inexplicably in-between!). I'm not saying all his ideas were gold, it was, lest we forget, Fuller that wanted to alter the Klingons' image, and I was both excited that a known Trek name would be in command of the production, but also wary with his comments that suggested he wanted to include more 'adult' content than Trek has traditionally contained. Trek has always been on the edge of family viewing, for the most part, with plenty of moments unsuitable for younger viewers, and more complex issues that would go over the heads of children, or that they'd find boring, but it's generally stayed (with the odd exception), clean and acceptable family viewing. It's interesting to hear that Captain Lorca actor Jason Isaacs ad-libbed a word that has been deemed inappropriate, since people of this time wouldn't use blasphemy because there are apparently no human religions then. That's patently untrue, there are plenty of references to Christmas, chapels and other religious festivals like Divali - I think Worf's adopted human parents were even Jewish! If they do clamp down on language like this, I'll be very pleased, whatever rationale they give, because it is offensive and unthinking, especially in this day.

It is sad to hear that CBS were against Fuller's ideas which included a more complex narrative. I wonder if it was he who wanted a large cast, because that's one thing I'm not so keen on. It fits that they are mostly human (or Klingon), since having half the cast as aliens as 'DS9' and 'Voyager' did wouldn't feel right for this time period where you expect to see more humans. I can't help thinking the era was chosen partly for its being closer to our own, the same reason Berman and Brannon Braga wanted 'Enterprise' to be set in the 22nd Century: so the characters can be less idealised Starfleet officers and more like the people viewers would expect from contemporary TV series'. Personally, as much as I've been glad to see the Trek timeline fleshed out with other centuries, I think all Trek produced in the 21st Century as being generally inferior. Not every episode, as there are some crackers in 'Enterprise,' and the last couple of seasons of 'Voyager,' but in general I prefer that which was made in the 20th Century, and that goes for the films too. I like the eleventh film, despite its multifaceted flaws and antithetical choices, but the others are merely passable viewing. It remains to be seen if going back to the prequel era of 22nd/23rd Centuries is really the wisest course to take Trek back to success or whether this series, too, will flounder as it fails to deliver the complexity, moral outlook and detailed characters in favour of the Kelvin films' action-over-substance style.

I'm not in favour of producing characters for the point of killing them off in a dramatic moment, because I don't think death is the best drama. It's harder to live and stay the course than have an easy way out. Not to say characters couldn't go out in a wonderful way, but it's always been Trek's way to create a family that you want to sail the heavens with, and part of the reason I like that is for its security and comfort. 'TNG' isn't my favourite Trek, but I do love it for the reason that it's like a warm bath you can sink into. Its 24th Century sequels I prefer, but then they require active engagement. I like to experience their world, too, but I miss the sense of familiarity and ties that 'TNG' gave us, and which has generally fallen away this side of the Millennium, with 'Enterprise' failing to be that very thing - while there were friendships, some characters were forgotten and poorly used. I don't want to see that happen again, as it's the characters, at its core, that keep us coming back to Trek, even after the effects are no longer state of the art, and the stories familiar: it's the characters we want to spend time with as if they're our real friends, and constantly being on the edge of your seat for the cheap dramatic potential that any episode could be a character's last, doesn't encourage me. I'm not saying Trek has to play it safe, and many have complained about its style since other genre fare has come along, like 'BSG,' but as much as I can enjoy a number of episodes of that series, I don't enjoy its bleakness and distress, playing with horror and hatred, depression and dark days, where Trek should be light and sure.

I'm not one of these that complains about war being in Trek - I couldn't, since 'DS9' is my undeniable favourite of them all, the war only serving to heighten the brilliant conundrums and challenges the crew faced. I was fully anticipating the Romulan War that should have arrived if 'Enterprise' had gone to a Season 6 (and even now I hope that one day, perhaps even in 'DSC,' we'll have flashback episodes to that time and conflict as the aborted eleventh film once promised). So a war with the Klingons isn't a concern of mine, as long as it's done well, and as long as it doesn't become merely an excuse for lots of running down corridors shouting as the camera careers wildly about (like the Kelvin films), blasting enemies and zipping about firing phasers. Not that that can't be an exciting time, but I want more than just that, nor even a focus on that. Moral depth and characters facing up to personal and professional challenge. The way I always describe Trek is to say that it's good people solving problems, and a cathartic problem-solving team is just what we need, especially if they're going up against the bloodthirsty and the ruthless, not just alien culture and attitudes. I can see the Klingons being used as terrorists are in our world today: the unknown enemy that we don't fully understand, and if we do, must oppose because of their destructive will. But I'm also all for understanding the Klingons as every major threat to the Federation has been eventually, whether it was the Dominion or even the Borg, there were always examples of those that we could trust, not band them all together under the same banner for simplification and greater security.

Although I'm yet to warm to any of the characters (unsurprising, considering I've only seen pictures, watched trailers, and read comments), I am intrigued by Lieutenant Saru, the Spock, the Troi, the Odo, the EMH, the Dr. Phlox, the odd alien out of the mix that we don't know and have never encountered before, giving them plenty of space to explore with him. He's been named as a Kelpien, a prey species (some internet wag mentioned the Hirogen, a hunter species, should show up!), the only one in Starfleet. He has the very alternate physicality to humans and even other aliens we've seen, in the same way Phlox was more extremely alien with CG enhanced smile and tongue, but we've rarely seen a very tall, thin alien and I suspect he could be the character with greatest potential to be the breakout. One thing I'm not keen on is the news (that had been circulating for many a month), that the comics and books based on the series will be considered canon. Now, though they have the reins, it's not for the 'DSC' makers to decide to change the rule that has always been so about only live-action on film and TV being canon, so I very much hope they don't go too far down that lucrative route that is obviously only aimed at taking as much money from viewers as possible (once again we're back to the business side of it). I'm happy for there to be spinoff merchandise, but not that it should be considered essential, nor that the 'DSC' writers should feel bound by any other artists outside their group, bar what has been made as episodes and films.

I was pleased to hear mention of a theme tune being worked on, and an orchestral one at that, which suggests to me that the series will have an opening credits sequence as all the others have. I had my doubts they would keep to such an identifiable Trek staple simply because it's become the norm to eschew this in favour of a few seconds of displaying the logo on screen, then the actors' names appearing over the opening scenes, post-teaser, which I always find distracting (even though I don't mind it when it's the comparatively fewer guest stars, writers and directors, but when added to the main cast as well…). Quite apart from the fact I feel it's a necessary part of a Trek series' identity, I also find it helps me get in the mood for the episode and I've never understood the argument that time will be saved for the episode, especially as these episodes don't need to have a set time since most won't be aired on conventional TV. Of course I could have got the wrong end of the stick and they were referring to end credits theme music, but I have faith (of the heart…), that they'll do right by this.

Though the interior design of these Starfleet ships isn't pleasing in the way they appear to have abandoned 'The Cage' style, which is the only episode to occur at this time in history, there are a couple of little things they've got so right: the Communicator and the Phaser. First, the Communicator I'm not that bothered about, but I'm pleased it looks so similar to the classic 'TOS' model, but it's the Phaser that really impresses: just like 'The Cage' and its 'lasers,' there's a cap on the front which looks like it can be twisted to each of the three nozzles as we saw in that episode, which is exactly the kind of detail you'd want in a series bridging the gap between that time and 'TOS.' It's an amalgamation of 'Cage' design and classic Phaser, and though I wish the transparent style of 'Cage' Communicator could have been extrapolated to the other equipment, it's one of the few things I give a big thumbs up to. They've yet to release a Tricorder, which could be trickier to do now, since 'TOS' had bulky versions like a solid satchel with a shoulder strap, but who knows. With so many other areas looking inspired by the ugly modern design of the Kelvin Timeline (the Discovery Transporter is the worst - even 'Enterprise' had a little alcove that was reminiscent of 'TOS'!), it's gratifying to see one or two little details done right (that and the use of the Klingon emblem please me a lot!).

The only other big issue to come out so far is that Michael Burnham is not just a protege to Sarek's mentor, but his adopted daughter, so of course there's been all kinds of furore over canon violation, while on the other side people have been citing Sybok's reveal so late in 'TOS' continuity, and I'd have to agree. I don't mind this addition to the story because we've seen so often that Vulcans don't discuss things with people, they keep quiet about their personal lives - it's another facet of their discipline and self control, as it is so much of an emotional race's need to talk about what's in their minds, but Vulcans don't need to, or it's another aspect of their nature they suppress, an admirable quality, especially in this age when so many people feel their private lives should be splashed about all over social media, with an attitude that everyone should know everything about everyone, and have an opinion on the subject! Once again, Vulcans lead the way with their suppressed attitudes, something else that makes them one of the best races in Trek. And if they want to throw in the occasional reference to Sybok (whom I've always considered a truly fascinating character), or even have him show up, I'd welcome it.

I still await a proper cast photo, since we've had so many released, including a comedy one with them larking about on the (frankly, Kelvinverse version of the Enterprise), Transporter pad (they would never have been allowed to do such a thing in my day, shock, horror!), but then it's still uncertain who are considered to be part of the main cast, and who are merely recurring characters. Maybe the distinction doesn't exist any longer and I'm still thinking like a human! But it would be nice to know who are considered the core cast. Will Captain Georgiou last the pilot and will we genuinely have two Captains and two ships? I still feel sure that Gabriel Lorca will turn out to be a Section 31 operative - why else cast Jason Isaacs, who so often plays bad guys, not to mention he's English and Americans like to cast English people as villains, although this time he's doing an American accent. The plot thickens, I just hope I don't know everything about the series before I eventually get to see it (whenever that is…). And I thought it was tough back in the days when it was just one 'Star Trek' magazine to worry about. Now it's the whole internet!

Anticipation Rating: ***

Starsky's Brother

DVD, Starsky & Hutch S4 (Starsky's Brother) (2)

The words 'family' and 'history' aren't part of the series' remit, they weren't attempting to create a canon, to create character arcs or flesh out the main characters with detailed backstories, so whenever anything associated with Starsky or Hutch's lives, outside of what we see, is broached, it adds a rare flavour to an episode. We've heard about Dobey's partner, we've seen his family, and Huggy's cousins, but there's been precious little for the two main characters in that regard, beyond girlfriends (many), or associates/snitches. It simply wasn't the era of recurring faces (except in different roles, a standard for the series that continues as normal here), and filling out the past, but the casting department needs recognition for getting John Herzfeld for Nick (or Nicholas Marvin Starsky as he doesn't like to be called), because he is as you'd imagine a younger brother of Starsky would be! They have a similar look about them, Nick has the same cockiness, though less tempered with experience, and the same open, fun-loving attitude to life as his older brother. He also has a huge chip on his shoulder he's walking around with, and the episode doesn't really come into its own until Hutch observes that he's come to visit because he's crying out to Starsky, and then it goes from being a fun opportunity to have one of S&H's relatives visit and make a dent, to a deeper, more personal drama.

We're not talking soap territory, thankfully, and it's not that Nick has any great secret, aside from being on the opposite side of the law to his successful career cop brother, it is that he feels David was never there for him, and Starsky doesn't have a response, so we have to assume it's true. We also find out that Nick has been on his own a long time, so we can extrapolate they don't have any siblings or relatives he could turn to (Starsky himself introduces him to Dobey as his only brother), and you wonder what happened to their parents and whether they became estranged, or there's tragedy in the Starsky family past, because you really get a sense that Nick looks up to his big bro and feels the need to justify himself and the choices he's made. It's a bit of the same impression as we'd see in Huggy's trip back to his old neighbourhood later in the season (another good, characterful episode), with an attitude towards the person that left as being 'too good' to stick around. So Nick's teachers became the guys on the street with names like Tony Markona, 'Big' Billy Hayes and Spider McGuinness, the guys Starsky 'left behind,' as if that was a deliberate act to escape them rather than a natural progression of life. Maybe he did leave to escape, we don't know and we're not enlightened - as much as this is a deeper dive into Starsky for the series, it still leaves most questions unanswered because it was at heart just another episode in an episodic series. Nothing wrong with that, but you rarely even get a callback to anything that's happened before.

There was one thing that piqued my interested: early on Nick makes reference to two years, and I thought that had been when he and Dave had last met up (off camera, obviously), but later Hutch says Starsky hasn't seen the kid in four years (making it before the start of the series). Going back to check, Nick is referring to the girl, Marlene, they've just been charming at the airport, saying, "Two years and you're still trying." The only thing that brought to mind was the previous episode with Starsky in the title, 'Starsky's Lady,' in which his intended dies in tragic circumstances, and was one of, if not the, best episodes of the entire series. It seems harsh of Nick to refer to something like that in a bout of levity, and Starsky doesn't react in a sad way, but it's the only thing I could think of that would make sense, that this could be the first woman he's properly pursuing since then, or that Nick's suggesting it is. Also, as important a moment in his life as it was, and memorable, it's such an obscure way to reference something like that that it leaves me completely uncertain whether it was the intention or not. I'd like to think the writers were paying that much attention to the details that have built up over the series, but the general rule is they don't bother too much in that regard and just deal with new things, new people and don't make vague callbacks.

In a story so heavily concerned with the Starsky brothers you'd expect the S&H dynamic to fall by the wayside, not to mention Huggy and Dobey being immaterial to the plot as they had been in some recent episodes, but in fact it's this that provides strength to the story, and support for Starsky as he has to face the implications of his brother's attitude to money and life: there are clues early on, from the way Nick wants to bet about which of them Marlene's more interested in for a fifty bucks stake when Starsky meant fifty cents. Or his new wardrobe of expensive clothes, and the fact that he foots the bill for the disco night with Hutch, Marlene, and her friends without saying much about his job prospects back home. Even the way he dismisses Starsky's way of life as wearing him out with chasing, fighting, being shot at, though David counters by saying it's the opposite, that's what keeps him sharp. Starsky must sense something's not right, but it's his brother and he trusts him and backs him when this week's Federal agent drops his suspicions on S&H in Dobey's office. Usually the feds are shown to be pretty unpleasant, sneery, and generally an authority for S&H to bump up against, but Weldon and the doomed Bronson seem like level-headed types. Sure, they still come out looking stupid since the villain of the week, Frank Stryker, knows they're watching him, they keep losing whoever they're trailing, and eventually lackey Jake blows up their surveillance room across the street - there's even some sympathy for the guy that bites it since Bronson had a family, and Weldon isn't as gung-ho and authoritarian as some from his organisation.

Hutch is the one that cuts through all the emotion with his direct and pertinent observation on the reason for Nick's visit, but there's time for him to carry on with the duo's detecting, even if he remains more muted than usual, Starsky's ire turned on Stryker, so that Hutch literally has nothing to say - he even turns to speak, then changes his mind as he walks out. Stryker was one of the better than average villains, and that always helps. That he's willing to kill a Federal agent shows he's a dangerous man, but also a bit foolhardy, the type that expects his way. He gets more depth than the usual gangster in a suit pushing a drugs empire: the scene where we see him beaten at draughts (or checkers as they probably call it), by his own heavy, Al, who finds it most amusing, especially when Jake agrees with his boss' quick-tempered response to the loss that he would have beaten him if he hadn't done that and that he's going to beat him soon, and you can see they're both smirking at the bad loser, so he's not the sort to command absolute respect despite his connections and money. One thing about him that stands out is the name. We had a big bad guy in Season 1's 'Snowstorm' (again, a drug empire - I used to confuse the guy with another one in the pilot since they were the same actor), and although it could be a common enough name, that guy was responsible for killing Dobey's partner, so again, I wondered if it was a deliberate callback. It's not the same character because that Stryker was arrested (and much older), but it would have been fantastic if it had turned out Frank was his younger brother and could have been a brilliant parallel for him to get revenge on S&H by corrupting Starsky's brother.

The fresh exuberance of Nick did actually put S&H into a different light, and although it was only four years after they started the series, they actually begin to seem older, no longer the young bucks eager to get the criminals. Starsky's tired, Nick says he looks tired, and while such banter is par for the course, I think there was some truth to it, that the job probably does wear them down a bit. Hutch is starting to look a little podgy compared to how he used to be, the hair's receded a little, and it wouldn't be that noticeable, but Nick demands comparison at twenty-eight, which I suppose would have been around the age S&H were at the start of the series, and now they're approaching the mid-thirties. Starsky even comes across as old-fashioned when he offers one of Marlene's young girlfriends his arm to go on the dance floor and she completely ignores it. And he doesn't want to think about going out the next night, when, after the disco Nick starts talking about what they'll do then. But in case you felt the series was showing up its stars, Starsky gets the last laugh on his errant brother. Not only is he up and ready to go a mere five hours of sleep later, while Nick slobs around on the couch (dragged there by the hair when he dared to try and take Starsky's bed for himself!), he's also alert, shown to be better mentally, and, in the best lesson of the week, he rubs it firmly in little bro's face when they arrive to rescue him from Stryker and find him tied to a chair while Starsky is 'free as a bird.'

I'm not sure how Nick got away without getting a criminal conviction and is allowed to saunter off back to his old life back East, but as I keep pointing out, this is episodic television at its most episodic, so of course he was going to either die (too harsh), or return from whence he came, because that's the way you reset the status back to quo. It would have been nice if he'd been able to hang around for a few episodes and cause some headaches for his sibling, and he is one of the characters I would most have liked to see return (again, that Season 5…), but it's such a good, heartfelt story, without pushing the morality into your face, just gently showing what a life of drug-dealing and irresponsibility will get you (rather than, say, 'TJ Hooker' which is much more heavy-handed and preachy in the way it delivers its messages about society). I say gently, but there was a rounded content to the episode, with action spectacle (S&H blasted off the stairs as they ascend to check on Bronson just at the moment Jake blows the explosives in a flurry of carpentry and dust), personal drama (the great scene in Starsky's kitchen as Nick tries to justify himself and his brother stands like a rock against the fridge, not even letting him grab a beer as he paces about, then stalks off into the sitting room), and there's room for the series' trademark brand of dotty comedy (the opening with Mrs. Krupp; the disco night with the girls), so it's a pleasure all through. What I always find myself asking after such an example of how the series should be done, is why didn't they manage to do this every time?

I've often found that watching episodes with a view to writing a review afterwards can make a poor episode more enjoyable if it's full of threads to pull at and details to speculate over, but can also work in the opposite way: a good episode that doesn't have much speculative potential or isn't filled with the little nuggets to mentally mine can seem a lesser experience than before. This one holds up as both a deeply detailed store of analytical prospects, and is also a strong episode in dramatic terms, close to being the best so far, though 'The Avenger' has a greater edge that puts it a notch above. It deals fairly with all four main cast while making it about five people, and the various interactions work well so that I'd have to put this up there towards the top bracket of episodes on the series. I particularly enjoyed Huggy Bear's explanation of how he got his name, told in inimitable style by himself:

"Huggy's the name,
and my game is the same,
the ladies they love me,
'cos they all wanna hug me."

A bit of series lore laid down right there!

The episode is rich in its conventional memes, from the typical Red Carpet of Villainy that covers Stryker's club, The Velvet Slide; to Dobey chowing down (a tin of chilli this time), while his weight is rudely called to attention (after Nick's been sucking up to him, Hutch retorts: "The man said heavy, Captain, not overweight"); to the usual competition between S&H over a girl being adjusted to S&N; and pop culture references (Starsky calls his brother Sleeping Beauty when he doesn't want to be woken; Nick makes his introduction to Ken with: "Dr. Hutchinson, I presume"; and Nick sees himself as a regular Robin Hood which Starsky calls him ironically), and when S&H&N meet Marlene's friends at the disco they get the ladies names mixed up, which could be a reference to the times when S&H used to be confused with each other. They do like their discos, it was obviously the in thing at the time of this season because they keep going back to it so Starsky can perform his wacky dance moves (another episode that must have provided inspiration to the 2004 film). I think the generic disco music had even been used before on the series, and it certainly was reused in the episode: when we later visit The Pits (which is 'near the station,' according to Starsky, though whether that means the police, bus or train isn't clear), it's playing there, too! While the music in general wasn't memorable as it has been in some episodes, the slightly sad violin that plays as we zoom in on Trans World Airlines where Starsky goes to pick up Nick is like a marker preparing us for the tragedy to come of things not being all nice and dandy, and returns again when Starsky's giving Nick what for about his crooked ways.

I like that Huggy makes contact with Nick even before he knows he's Starsky's brother, later admitting he thought he was familiar when S&H show up to enlighten him. Familiarity in face and clothing style (even if Nick is a bit more flamboyant than his more casual brother), isn't the only thing familiar about the episode, as it has several of the same story pieces as the preceding one or two: another use of a bomb activated by radio frequency; another angry encounter for S&H with the feds (admittedly it was more of a snide, competitive one in 'The Groupie,' but we've seen many times when S&H have shown their lack of respect for such figures - it's usually one of them defending the other from accusation or suspicion, this time it's Nick); and Starsky pays a visit to threaten the villain again (just like 'Cover Girl'), while another motel room (Buena Vista Motel), plays an important part in proceedings (they tracked down the assassin to his motel hideout in 'Cover Girl'), as Nick visits to pick up his drugs package, getting deeper into the mire - the female courier seems to take some kind of pity on him, seeing him for the young, green guy he is and giving him some advice. Whether it was because she knows how many Nicks have been used by the likes of Stryker or she just took a fancy to his naivety, seeing something of her own past in him, I don't know.

The use of eccentrics is kept to a minimum, which is how it works best or the whole thing turns into a farce of 'Dandruff' and 'The Groupie' proportions. It begins, just as 'Cover Girl' did, with Hutch dealing with a crime of a humorous bent, which, just like that other opening scene, could have been some padding to bulk out the episode a little before we get to the actual story (though it's fun, and it's always a laugh to see Dobey get outraged, this time for Starsky's absence, though you'd think he'd be used to his men off following leads individually and wouldn't think anything of it). Mrs. Krupp is being held for whacking her husband with a baseball bat, but it's all done in such a jovial manner, and she's clearly such a wacky type that it is funny. I can't imagine why she was allowed to keep hold of the offensive weapon in question, and it's bizarre that Hutch makes up a charge of First Degree Husband Beating to scare her, rather than taking it seriously and charging her with GBH, but it's another sign of the Seventies when I suppose it was deemed ridiculous that men could be injured by their wives. It doesn't stop Hutch's interactions with her from being amusing, nor the poorly hidden nervousness of Officer Sweeney, who's left to deal with her. That's about it for characters exhibiting eccentricity, except for Marlene, who is more than feisty: first meeting being chatted up by Nick, then her attention switches to Starsky when he butts in, and then when introduced to Hutch she latches onto him, but keeps talking about the others! Her friends, Katie and Carol, aren't eccentric, except for being friends with such a changeable sort!

I have to wonder if the moment S&H bring Nick in to see their office and Hutch suddenly stops in front of the door, making Nick bump into it, was deliberate, or just something that happened on the day of filming. It's just one of those little things you see crop up here or there, but in this case it could equally work as a bit of teasing. I also noticed the cab driver that picks up Nick from The Velvet Slide looked like he could be the bulging eyes extra that is seen occasionally on the series, though it was hard to tell at that distance, in a cab, with a cap on. And the ongoing saga of what exactly is outside Starsky's front door, continues: this time we see a wall there with bushes in front… The question of whether the place S&H work in is a city or a town gets further discussion when Weldon notes that of all the bars and coffee shops 'in the city,' Nick went to Stryker's, and yet Stryker himself notices he's 'new in town,' as if the kind of expensive jacket he's wearing couldn't have been bought except in a big city. It's a slim difference, Stryker could have just meant it as a manner of speech, but it does make me question whether Bay City is in fact a city - as far as I can remember it's never even been named in dialogue. And it's surprising how rough Paul Michael Glaser was allowed to be with the actor playing Stryker at the confrontation at Carmelle Printing and Engraving where he violently throws him around before cuffing him!

Anthony Ponzini must have known what he was in for, though, as he'd been in the previous season's 'The Trap' as Trayman, though here he gets Special Guest Star billing. Fittingly, the only other returning actors were also two of his goons: John O'Leary as Victor, his crooked attorney (previously Steinmetz in Season 3's 'A Body Worth Guarding'), and Nicholas Worth, the draughts champion, Al (who'd been both Barnes in Season 1's 'The Omaha Tiger,' and Denny, Amboy's goon, in Season 2's 'Bust Amboy'). It's like they knew these guys would work as heavies! While hiring experienced actors was one way to ensure the episode worked (although I wouldn't have said the bad guys were among the best of the series, just above the average), the episode also benefited from good directing with the occasional flair: I was enamoured with the uncommon use of slow motion (as seen so effectively in 'The Avenger,' though directed by a different Director), in the explosion on the stairs - they've really done well at not making the stunt guys obvious this season, you can barely tell it isn't actually S&H. I also liked the shot at the bar where we're focused on Stryker talking, then his head moves and we see in the mirror he's talking to Nick.

Where the episode triumphs is in its widening of the Starsky legacy through excellent casting, successful chemistry, a solid story and a good moral. We learn about Nick's life being so different to Starsky's, despite them growing up only a few years apart, he has the typical brotherly competitiveness, the looser approach to life that puts Starsky into a difficult position (like when he can't be bothered to find his ticket at the airport and tells his brother to just flash the police badge so they can get through), has some charm in the way he sucks up to the boss (prompting Dobey to appreciate his manners and upbringing), but has that restlessness about him that denotes an unsatisfied inner life, still carrying bitterness and resentment for how he feels Starsky treated him and the way things have gone in life that makes you warm to him, but also see the maturity in Starsky by comparison. Starsky's friendship with Hutch means they can talk beneath the facade that Nick puts on and further confirms their great mutual understanding, Nick a catalyst or magnifying glass on that. And it is fitting that Nick gets something of a last laugh when he hustles Hutch and Huggy for higher odds on their farewell pool game, admitting afterwards that he's left-handed, the usual freeze frame playing out, while the sound of balls plunking into pockets continues! It's a really nice, homely scene to cap the episode, the four of them hanging out at The Pits after hours (whenever after hours would be - must be the morning!), like a little family group.

***

Shield

DVD, Smallville S10 (Shield)

A puzzling one, full of myriad themes and ideas, none of which is explored in detail, the story hopping around like a mad bunny, introducing characters, continuing arcs, and assorted oddities, including the occasional revelation, such as the group of crime fighters that kidnapped Oliver being the Suicide Squad (now a lot more famous for the film based on them, though I highly doubt we'll be seeing The Joker in this series!). It's one of those that piles on information and forces you to either keep track of everything or settle back and allow it all to wash over you. I don't have that luxury, forced to pay attention to make some sense of it for this review, and in a way it's probably a more pleasurable way to watch, since instead of being bored and confused with all these different characters, organisations and developments, I seek to understand them, and that's coming from a disadvantaged place of non-comic knowledge - it seems as ever, that they prefer to play to those in the know, and to the rest, like me, Deadshot, Suicide Squad and Cat Grant are just names they may have heard.

Let's start with Cat, a replacement partner for Clark at the Daily Planet, summed up in her description of how she bakes her cookies: twice the sugar. In other words, homespun, traditional, yet also excessive. She talks ten to the dozen, assumes those around her are just like her, despite her radically marshmallow pink surroundings. Yet she's not a marshmallow, nor even that sweet, with the tragedy of a broken joint parenting problem of falling out with her boyfriend and having to change her name to protect her identity and that of her young son. Ironic that she has more in common with the masked vigilantes she professes to be disgusted by, and even more ironic that one of them, Clark, saves her from a speeding bullet. She's not initially likeable for her instant rubbishing of Lois, and Clark's masked friends, but she grows on you through the episode. Not just when she spills her personal story to Clark, but when she bravely pulls out every gadget she can to defy Green Arrow when he visits the apartment above The Talon in Smallville where Clark put her for safety after it seemed she was the target of some crazy. She literally pulls everything out, each device easily defeated by Oliver, but you admire her pluck, even though it was misdirected and misguided.

One thing that isn't misguided is the bullet of a guy called Deadshot that looks like he just walked off the set of a Western, cowboy hat, boots, high-tech gun… His special bullet with the name of its intended victim takes out Cat's car, but it was actually a ruse to test Clark so the Suicide Squad could eventually lure him to save Cat by stopping a bullet which imprinted something into his skin whereby they can track him? Is that it? That's the impression I got, the same thing done to Hawkman in Africa where Clark had asked him to keep an eye on Lois while she works for the invisible Perry White on the story of some tomb being discovered, but which is actually just an excuse to have Michael Shanks return to his 'Stargate SG-1' roots as the archeologist and give her a history lesson - I half expected Jaffa warriors to come charging in with staff weapons at any moment! This is where the episode moves into the more soppy side of the soap… I mean series… Hawkman and Lois share a kinship in terms of their affection for an important person, and there is the faintest whiff of a good theme in there about whether Lois should clear out of Clark's way so he can fulfil his 'destiny' (which is basically what Lana Lang decided, if I remember correctly), while Hawkman suggests Clark needs her to fulfil it.

There's more mush when we learn from Oliver's investigations into those who kidnapped him, then traded Chloe for him, that she took a cyanide pill to escape their clutches, but he also finds she had an antidote, and Tess helped her erase every digital trace of herself, so she's planned to completely disappear. It's a bit of a strange way to write a character out, and I don't understand why they had Allison Mack in the credits of the opening episode, then she's entirely gone from this one, no credit, no appearance. I doubt this will be the last time we see her, since this is the final season, but it shows that my hearsay proved correct about her leaving the series in Season 10. My theory about them bringing back familiar faces is borne out with Michael Shanks returning, and he's a likeable character, though no Pa Kent. It tickles my anticipation meter to see who else they get back, even if it's just for one-episode wonders, though this Suicide Squad looks to be the main villain of the season, presumably. We still haven't seen anything of the black mass at the end of the first episode and I sense things could get more difficult to follow as the season progresses at this rate! Checkmate is name-checked, though I'm not sure if they're actively involved in anything or not.

Things take some illogical turns - for Cat, Clark telling her to stay at the apartment where she'll be safe wouldn't be that reassuring considering 'big bad' Green Arrow had already paid her a visit there, but the fact she goes on the run from Deadshot through a busy coach station instead of staying around all the people where he wouldn't have dared shoot her, was a daft idea (but I can graciously accept that perhaps she wasn't thinking straight while in fear). I suppose there was some ingenuity to the Squad's method of tagging Clark by using her as bait, but a bit of a long shot at the same time. And I didn't understand whether the final image of Clark standing impressively atop a building with the American flag flying behind him and a big 'S' on a new red leather jacket was meant to signify a change in attitude? He and Oliver had been talking about 'changing their fate' or something, rather than letting their secret identities be held captive, so does this mean he'll no longer protect his secret? All because he and Olly have both lost their girlfriends by Lois and Chloe's own choice? If there was one thing I'd like them to do it's to make things a mite clearer - just give us people's names, it's not like it's going to make the series any sillier at this point! I could understand that attitude at first, because they weren't trying to be a comic book or tie themselves closely to established lore, but for seasons and seasons they've introduced other heroes and villains and now isn't the time to be avoiding true identities, just as Clark and Oliver appear to be advocating.

It's hard to judge episodes that are so heavily serialised because although they were made to be watched in chunks rather than the modern phenomenon of 'binge-watching,' they are a serial, not self-contained stories, though you could say that Cat's mini-arc, going from a silly, fluffy annoyance to someone with a little depth and character, as well as a simple enmity of vigilantes to seeing some parallel with her own life, was this week's episode - it is, after all, where the title comes from, Clark her shield of protection, but due to the nature of the series, at least at this point (and one reason I preferred the first two seasons), they don't have the space or inclination to delve deeply into a given theme. Even with a forty-minute episode it's tough to get below the surface, but when you're cramming so much in already it barely even nicks that surface and that's a shame. But it's not the series' style and you either accept that or don't watch it. At least it always gives me plenty to write about, even if it typically doesn't give me much to think about, beyond the amount of details thrown at me.

**

Cover Girl

DVD, Starsky & Hutch S4 (Cover Girl) (2)

One of the dynamic duo meets an old friend who's now a model and has to protect her, becoming closer than professionally reasonable in the process. Where have we seen that synopsis before? Only about half a dozen episodes throughout the series, though specifically it made me think of an almost identical episode where Starsky found himself trying to help an old female friend way back in Season 1's 'Running.' The usual unprofessional behaviour at once makes Kate Larrabee, a model who has a debilitating disease that will weaken her bones and destroy her looks, better protected than if she were just a regular target, but also in more danger since Hutch is sidetracked and lowers his guard, almost getting blown to kingdom come by activating a bomb hidden under her car with his police radio frequency! Why is Kate being targeted? Because she asked to be assassinated, not having the fortitude to live with the slow death the doctors have informed her of. But if there's one lesson to be learned from this episode, it is not to give up, even when things seem hopeless - even doctors don't know everything, and hers, Dr. Harriman, soon shows up to give her the good news of remission, only it's too late to cancel the contract because the guy she arranged it through, Brady, can't get in contact with the hired hitman, Angel, whom conveniently (for the plot, inconveniently for Kate), has decided to move on after this job with no further contact possible.

It's a pretty good set up for an episode, the problem is that they wanted to have all the explosions and danger, but also squeeze in the romantic subplot and you can't really delve deep into either one, in consequence. I'm not sure we needed another fashion-focused episode immediately after the last one, but her model status is really only an excuse for her to give up all hope in life at the prospect of losing what she's got. I must admit I didn't realise it was Maud Adams at first, even having viewed 'The Man With The Golden Gun' and 'Octopussy' quite recently, but I kept thinking I knew her face and assumed she'd been in the series before. This would have been made between her two James Bond appearances (shame Dobey didn't make his crack about Bond in this episode, it would have been much more apposite!), so it was fun to come to the realisation, confirmed for sure only when I saw the end credits. She does come across as a bit of an unthinking, rich type, since it takes Hutch to remind her that beauty comes from within, not without, though I doubt saying that would make any female feel better about losing their looks, and the more the model, the harder the fall.

This could have been a great episode if they'd concentrated on enlarging the awe for the cruel and creepy gadget man, Angel ('there are no accidents in my life'), the hitman given the job by Brady. There are multiple references to death, Brady saying something about death needing no appointment, the Angel saying death has no respect for beauty, and the hitman himself known as the Angel of Death. We see his MO early on when he takes out an important witness in another case, Lindsay lured towards an abandoned pram by the sounds of its crying, but getting a face full of explosive in quite a violent effect that really looks like he got caught directly in the blast! Immediately Angel is shown to be this cool, calm killer that will stoop to any trick to get his man, or model. He does become the stereotypical genius murderer as we see his eccentricities in full force (only he and Big Ed, the toyshop man could be in any way considered members of the wacky crowd we expect S&H to encounter), whether that's Brady meeting him as he whirls a toy plane around his head, forcing Brady to duck every few seconds, using a doll in the pram (instantly obvious as a toy if anyone had happened to peek in), playing chess with himself while listening to classical music, and an affinity for fiddly gadgetry and toys. Although he's dangerous, you never get the impression of a terrible, evil mind, like the guys in 'Vendetta' or 'Murder Ward,' for example. This makes him quite lacking in scare factor, added to his open face, and would have been so much more effective if he'd lived up to some of the words about him.

Brady tells Kate that the killer will reach her 'when he burns you,' and he's described as the man in the shadows, except it all takes place in broad daylight and although eccentric in taste, attitude and profession, Angel is no threat in person as shown by S&H when they burst into his motel room. He's certainly assured and bold, going about in his typical villain's beige van that should instantly stand him out as a bad guy. He only uses the one disguise, a US Mail Letter Carrier (postman to me), and most of the time he just saunters up somewhere and sticks his bombs right there, as he does under Kate's car sitting in her driveway. You'd think that if Brady couldn't get in contact with Angel again he'd at least be able to give the police a detailed physical description so they knew who they were on the lookout for! Brady was the real slime, this guy who sets up the hit, but never seems in full control. He's denoted as a villain by the fact his office is carpeted in red, the carpet colour of villainy as has so often been the case. He has one attitude when dealing with Kate and quite another when Starsky shows up to play the heavy while Hutch does the soft stuff, looking after Kate. Again, you could suggest that Starsky isn't exactly professional, threatening Brady every way except openly, but there wasn't much the guy could do to repeal his wrong.

As part of S&H's investigations to track down Walter Allen, aka Angel, they visit a toy shop (wonder if it was the same one as Uncle Elmo's?), where Big Ed the shopkeeper tries to get them to buy a laughing man head in exchange for information. I like seeing what kind of toys they had in the Seventies and I wish we could have had a proper nose about in the shop, but if there was no time for even one scene of Huggy, and little of Dobey (though we do see him scoffing ice cream or something out of a pot, just when you thought they'd dropped that character trait!), there certainly wasn't time for S&H to mess around with toys. Hutch was too busy messing around with Kate… If Angel wasn't written, acted, or shot to be as threatening and frightening as a killer you're expecting at any moment by your own invitation (something they later did with Quark on 'DS9' - he learns he's got a terminal illness and asks Garak to kill him when he's unaware), we did get some good explosions, from the establishing of Angel with the pram, to the premature car bomb, and finally the blowing out of Kate's dressing room mirror with a cunningly substituted lightbulb. It was also terrific the way S&H speed back to Kate when they discover Angel's plan, Starsky first out of the motel room door, bringing the Torino screaming round in a circle while Hutch cuffs Angel, then barely stopping for Hutch to leap in through the passenger window in the classic style of the series. Why didn't they phone up Kate to warn her, or put through a message to the cop guarding her? They might have suspected the phone was tampered with, too, I suppose…

And then it's over, we never go back and see Angel properly arrested, we're suddenly at one of Kate's photo shoots by 'Randolph The Magnificent,' where he pulls the two cops into the picture. It wasn't the worst way for the episode to bow out, but it was as light and frothy a scene as the episode itself was, almost none of the tension and terror of 'The Avenger,' but a step up from 'The Groupie,' for sure. There's a bit of comedy (none more so than the opening, Hutch responding to a call from someone claiming assault by a deadly weapon - as the conversation progresses we discover it's a young boy reporting his Mother for cuffing him when he tried to get the cookie jar, culminating in Hutch's line that 'unless your Mother is a professional fighter and her hands are registered as deadly weapons there's really nothing I can do'!), and the return of Minnie (who was in Season 3's 'The Collector' and 'The Avenger' this season - again credited as Marki 'Bey' instead of 'Bay' as she was in her first role), who shares some flirty scenes with Starsky so he's not left out with Hutch getting all the romance. If you look at Alan Miller's (Brady), roles on the series, one per season, beginning with Season 2's 'The Psychic,' he's gone from being a good guy, to not exactly good or bad in 'A Body Worth Guarding' (another episode with similar premise to this one!), to be being all-out villain here. As well as Marki and Miller, we have Frank Geraci in a tiny role of a bartender who tells Kate where to find Brady (he was a banker in Season 1's 'Losing Streak'), and Jerome Guardino as the unfortunate, and short-lived, Lindsay (Mr. McDevlin in Season 2's 'Nightmare,' and Carboni in Season 3's 'Quadromania').

One character confused me momentarily - we see an advert featuring Kate in a magazine saying 'Cosmetics by Richards,' and then shortly after we meet a cop called Richards who was accompanying the doomed witness, so I assumed there was some connection, but it was just a coincidence and me paying too close attention! There were no running jokes, and I expected Starsky's trip to the dentist where he comes in feeling like he's missing half his face (to which Hutch responds it would be an improvement!), to be an ongoing subject, but it was just another thing they couldn't fit in. I like hearing about anything from S&H's past (we'd be getting deep into that in the very next episode), and although it's only a passing mention, we hear that Kate and Hutch knew each other seven years ago. Though there never was a Season 5 (sadly), I would have nominated the shot of S&H breaking through the motel room door, guns drawn and ready for action as worthy of addition to the opening credits montage. You can see the boom mike when Starsky visits Brady in his office, just as they meet at the door, and there are barely any references to keep track of: Kate says she thought she'd live to a hundred and eight and look like Marlene Dietrich; S&H use the call signs turkey buzzard and Chicken Little, and talk of the sky falling on their heads; plus Randy the photographer shouts out 'Beauty and The Beast' referring to S&H and Kate's group photo.

Interestingly, he refers to his female assistant as Michael (the male assistant was called Louie, neither of which are credited as they don't have lines), which is pertinent to me as the new, female star of 'Star Trek: Discovery' has that name and until then I had never heard any female usage of the name. It seems the garments were genuine as in the credits there's one for 'Fashion Apparel by Marion Wagner,' so no expense spared where it was 'important.' I hesitate to suggest the series was getting tired at this point, with the evidence that they were remaking old episodes again, because they were constantly redoing the same kinds of story throughout the series, which is why I make so many references to other episodes in these reviews, and they could get away with it by using the different characters in the same role since they were different personalities. But either Starsky or Hutch getting into romantic escapades had been done to death and what the series really needed was more danger (like 'The Avenger'), more hard-hitting social stories (like 'Black and Blue'), and less of the outrageous comedy and silliness. But again, the series showed it could do many different styles of storytelling, I just wish it had been a bit more consistently of a quality that pushed the series more. Then maybe we would have had a Season 5.

**

Lazarus

DVD, Smallville S10 (Lazarus)

It's good to be back, after taking an extended break before the final season, and it is the final one, as Tom Welling advises us in the teaser's narration. But how far back are we? With all the focus backwards on people, places and things, you could almost imagine we were back at the beginning of the series again, and that pleases me. It's something I'd heard about Season 10, that it would bring just about everyone important back in some capacity, and I've looked forward to that appreciation of the series' roots, since I never got out of the second season really, never fully embraced the directions the series went, and often felt like I was enduring it more than enjoying. I was surprised to see Allison Mack in the credits, returning as Chloe Sullivan, as something else I'd heard was that she wouldn't be in it. It's possible she'll only appear for a few episodes, and there was a hint of impending doom for her (more than a hint, since she's actually exchanged for the kidnapped Oliver, as if it were a prisoner exchange), but then why put her in the opening credits at all? Something notable by its absence is the lack of a new character joining the series - we always have one, usually a villain, but not always, and they usually last just the one season, like Callum Blue as Zod last time. Hopefully this means their budget was directed towards recurring familiar faces on a regular basis, as they did so effectively with Terrance Stamp as Jor-El and John Schneider as Jonathan Kent here.

If nothing else had exuded the early seasons, it was this, with old Pa Kent showing up from the dead to give Clark a pep talk as he mends a fence as if no time had passed. It was a beautiful scene, and it genuinely brought back one of the best dynamics from early episodes, where Clark is unsure about something and Jonathan puts him straight with simple, manly advice and good humour. There's even the old 'real Dad versus adopted Dad' tension of old, with Jor-El telling Clark he will be the greatest evil the world has ever known, rather than its greatest hero, thanks to his sin of pride, while Jonathan encourages him and reminds him that it's not wise to listen to Jor-El. We've had Mr. Kent back occasionally in previous seasons, but not quite as alive and normal as this, so it was a real delight, despite his ominous warning that Clark will be tested, and it will be the most difficult thing he's faced. We don't bother thinking through how he can be there when he's dead, it's too nice a moment to ruin with logic, and I just hope that they saw fit to include him in Clark's corner, back at the sun-drenched Kent Farm, on a regular basis. I got the impression it was somehow him that sent Clark back to life when he was in a strange purgatory after Zod's knife had stabbed him to death, back at the field from the pilot episode, with the scarecrow's wooden stand that they tied him to - I half expected Whitney and his mates to come barging in and tie him up there and then! Jor-El claims it wasn't he that sent Clark back to the land of the living, so…

I was surprised that there wasn't quite as much thrown at the audience as usual, but maybe I'm forgetting what the baseline is for the series. And we do get plenty to cogitate on, not least being Tess Mercer alive, well, and with a whole face (it would have been a more creative choice to turn her into a Two-Face type, but I suspect the network wanted her face whole again, instead of half burned up and hidden under dressing for a chunk of the season). Since she wakes up in Lex Luthor's old facility, Cadmus Labs, and discovers a selection of Lex clones in various states of age and decay, it's not too preposterous to guess that she also is a clone, since she did actually die in the season finale, and she couldn't have been healed that fast. Well, this is 'Smallville,' so she could have been healed, but it's just as likely for her to be cloned. Either way, it doesn't matter too much. What I was uncertain about was the Lex connection. For one thing, I wish they'd got Michael Rosenbaum back instead of any old actor to be a Lex clone who's aged twenty years, and dies after setting Clark a Joker-like conundrum to choose between saving one, or a group (no doubt 'The Dark Knight' had some influence on the series at the time, considering its huge success). And for another, it's left open as to how many clones there are, so they never need to bring Rosenbaum back at all. Was he even approached? Did he leave under a cloud? Was he just fed up with poor writing, and said so?

Tess has been set up to be some kind of guardian of the Lex clones, or the little guy she finds at the facility, though who knows how many more are hidden away? I was just glad the old Lex didn't hang around as he didn't have the nuance to make a good villain for a season. I don't believe Rosenbaum ever did come back, so we'll have to make do with inferior replicas to carry the story. Not that this looks to be the most immediate threat, as some hooded black smoke creature appears. If I knew Superman lore I'd probably recognise it, but I don't, so I'll have to wait for the series to spell it out in its own time. Each character gets something to do, though Oliver and Chloe get shortest shrift, with Oliver tortured for… information? It's a bit like Bond in 'Casino Royale,' and the series isn't shy about showing us it's not going to let up on the viciousness that has crept slowly up on the nasty scale. We never know who this mysterious group is that captured Queen, just that they plan to do what they're doing to him to all his gang, and now they have Chloe…

Lois' position as last to know the big Clark Kent secret dawns on her, and allows her to have a little fun with him, though she's so far not revealing she knows. They were scheduled to meet in the barn for the usual end of episode sunset chat of understanding, but alas, she gets knocked out by old Lex, saved by Clark when she's tied to the same old scarecrow stand, in that same old field, which he set fire to, and then decides it might be best to hop it to Africa with Perry White after all. I'm not sure why, whether it was a reaction to being captured, since she should be used to that happening by now, or more likely, so the baddies can't use her as a weapon against Clark. It was no sweat for him to save her and stop the Daily Planet's globe from crushing a load of people (and really, wouldn't a massive, shiny metal globe be so noticeable that people would have time to get out of the way?), although it does give him a jolt of pride that he was almost flying, after having pushed himself harder than ever before.

The series has definitely decided to fully embrace its history like never before (not that it was shy of doing so anyway), and with homely references to both continuity old (Clark saving Lex on the bridge; the scarecrow stand; Jonathan Kent; the Kent Farm), and new (Dr. Fate's helmet which enables Chloe to see what's going to happen; that superhero gang's special meeting place, even though I thought it was the Lex Mansion at first, because it's a set redress; Lex' various projects), it's nice to revisit the characters and settings again. The CG effects varied, with the birds in Clark's purgatory not the best, but then the fire he rushes through to save Lois looked realistic, so it wasn't bad on balance, and now we're coming to the end I'm just looking forward to getting back into the series one last time (until I review the first two, superior seasons!). With Tom Welling still Executive Producer it may well have been a case for him of making as much hay as he could while the sun shines, because he was already looking older and fuller of face than he used to, and he probably guessed this was his big gig, forever-after to be typecast in the role. The Fortress of Solitude is seen again, where Mrs. Kent's nicely designed Superman costume ends up residing in ice, ready for when Clark shall don it instead of the black garb he wears now as a kind of hero in waiting. Hopefully we'll have some good stories this season, and if we don't, at least let there be an influx of past characters as much as was crammed into this episode. Because nostalgia is something, even if quality of storytelling isn't quite up there.

**

The Groupie

DVD, Starsky & Hutch S4 (The Groupie) (2)

Probably the worst episode of the series, and if not the worst, definitely one of the worst, for its ridiculousness, low stakes and general boredom. There really is very little going on with this one, so little that it's hard to think of things to write about it! Coming so soon after the parody of 'Dandruff' might make it seem worse, but in truth, it doesn't matter where in the season they produced it, it has no redeeming features. Once again S&H are going undercover, but although they stay in character much of the time, it's not like 'Dandruff' where the zaniness goes from level to level, it just plateaus at extremely hammy, not enough to cause amusement, yet also so silly that you can't believe these guys are detectives on a case. Hutch resumes his nasally persona, this time as a fashion buyer, decked out in ugly outfit, thick glasses and swept hair, clumsy mannerisms, facial tics, the whole acting-class gig, with the alias Jack Ives and the motto 'money talks, or take a walk.' He somehow keeps up this persona around people that actually believe it, though the other characters are much more down-to-earth types compared with 'Dandruff.' Starsky is back to his florid, indeterminate European accent, an 'artist,' violently brandishing a camera, throwing himself about like some crazed Ferengi in the guise of 'Mr. Renaldo.' The balance is more weighted towards Hutch, Starsky's role more of an afterthought as they try to… I don't know, infiltrate Anne Lock Fashions, the company which is being particularly competitive?

I couldn't really follow the story, but I'm not sure if it was because it was being told incoherently or I was put off by alternating scenes of clownish behaviour and dry, expositive ones. The fact that it's expensive clothes that are on the line (sixty to seventy G's worth of Russian sable, for example, as the thief at the beginning explains to his lackey for our benefit), means it's hard to care, and although they attempt to up the stakes by having a representative of the manufacturers, Mr. Marks, explain to S&H with Dobey's backing how important this is to the industry and the country as a whole, it fails miserably - S&H aren't even taking the 'threat' seriously, so why should the viewer? Things improve slightly when Melinda Rogers, the groupie of the title, switches sides to S&H after Hutch has explained she'll be going down if she doesn't (and because he uses his 'charm' on her), after she'd previously aided and abetted her boss, Jack Parker by distracting a security guard. Parker's partner, Sears, overhears her reporting in and then S&H have to save her, but it's still pretty weak. The idea of this woman who's attracted to police was a poor one to base an episode around, and the feeble comedy doesn't raise a laugh - about the only amusing moment was Mr. Marks' coldest fish of a handshake to both S&H, after which they give each other a solid, manly one as if to see it done properly.

Even with both Dobey and Huggy sharing a few scenes with S&H through the episode, it doesn't improve, and remains obstinately bizarre: a man at The Pits recognises Hutch and blows his cover in front of Melinda so he shrugs it off by suggesting there's supposed to be a double of all of us somewhere. How weak an excuse can you get? Then (and this was actually quite funny for the extreme wackiness), Starsky, to gain entry into Melinda's cabin aboard the ship where the Anchors Aweigh party is taking place to show off the company's swimwear, gobbles like a turkey until Sears opens up to see what all the noise is! It's like they were trying to think of the most crazy things possible. Hutch even swings across the stage at the show like Tarzan, emitting a suitable wail as he does so!

There are familiar tropes to at least remind us that we're watching the right series, so we get Hutch knocking Parker into a pool and landing on top of him at the end, as you'd expect; there's the scene with their rivals, Federal agents they don't like where they have a sneer contest; and Starsky does his trick of popping up to draw the baddie's fire, his antics lasting until the gun's empty. In a strange reverse of the usual attempt S&H make in competition to get the girl, this time Hutch lets her down gently before realising she's going to dinner with Starsky in the final, odd scene of the episode. I could say that at least it has something to do with the episode, except for once it would have been better if it hadn't, considering the quality of the rest of it! The pop culture references stretch from Starsky mentioning he's shooting a cover for Vogue, Hutch doing a line from the musical when Anchors Aweigh is mentioned as the name of the fashion show party, and even Dobey getting in on the act, saying the strange phone call from Melinda sounded like she overdosed on some James Bond film. And Parker, in secret meeting with Sears in a concession, pretends to study a Charlie Brown card! The concession they meet in is advertising Halloween cards, and since it's a real shop, not a set, there's no doubt as to the period they were shooting, which is a small nugget of interesting detail.

If there is a saving grace to the episode it's the fun of spotting how many returning faces from the series show up, because there are a few here: the big one is obviously Robert Loggia as Jack Parker, who shares the accolade of being one of only two people to have more than one 'Special Guest Star' credit to his name (the other being Michele Carey) - there were other Special Guest Stars that appeared in more than one episode, but they only got the credit on one of their roles. Loggia had previously been in 'The Fix,' and brings a small amount of gravitas to the episode, despite the Seventies medallion, open shirt and massive collar, since, although he's the main villain, he isn't in it all that much, the groupie of the title taking the limelight. His partner in crime, Sears, was played by John Ashton, who'd been Willits in 'The Committee.' The other double-act, the Feds, consisting of Bill Walters (David Knapp), and Ed Ohlin (Arthur Roberts), both had previous: Knapp was Assistant District Attorney Sims in 'Nightmare,' and Roberts (under the name Arthur David Roberts - I'm assuming they were the same guy), was White in 'Losing Streak.' To round out the comebacks, Will Walker (the man at The Pits), had been in 'Deckwatch,' and Marianne Bunch (Barbara, a model and friend of Melinda's), was Tina in the 'Murder At Sea' two-parter. Ironic, considering they filmed on a ship again - I wonder if it was the same one, but then these cruise ships probably all look alike. Before I even twigged they were aboard a ship I was thinking the cabin looked oddly similar to one in 'Murder At Sea,' so it is possible.

Though I could suggest the whole episode was at fault, specifically I would call attention to the fact that the same swimming costumes parading in front of the goggling Hutch, keep repeating instead of being new ones. And I know Harold, from the Switzer Protection Agency, was a bit dim, but surely even he would notice the large glass jar full of bullets in Melinda's place, a warning repository of what she'd taken from previous conquests? Mind you, he was pretty dopey, and probably, discounting the extremely eccentric portrayal of the characters S&H were playing, counts as the only crazy character of the episode, which further isolates S&H's performances, instead of sticking them among a bunch of wackos as 'Dandruff' did. You could also count the girl Starsky photographs so floridly, but she barely had a role, and was rather a tool to show off Starsky's most gratuitously arty pastiche ever, whirling around on the floor, wielding his camera as if it were a sparkler while the model dances round him, dress flowing like some art installation. If it had gone on much longer I can imagine him slinging the camera around his head by the strap! Melinda was a bit wacky, what with her penchant for policemen, and her large dog called Fosdick, but she seemed relatively sane next to the burbling, squinting, floppy-haired Hutch.

The trouble is, the episode is nothing more than a chance to parade swimwear models around, while Hutch gawks. I'm sure David Soul enjoyed himself, but it doesn't make for anything like a worthwhile episode for the viewer - even Huggy points out that Hutch knows how to pick a corny cover. S&H's undercover roles had stepped too far over the line into utter parody, the series had lost control of its comedic desire, and when you consider that such a hard-hitting episode as 'Black and Blue' came between this and 'Dandruff' it's like they're two different TV shows! Ordinarily I like a bit of variety to show that a series can stretch itself into various genres (some of the 'Star Trek' series' were adept at this), and it's a hallmark of 'Starsky & Hutch,' always had been. But by any definition they had gone too far. 'Dandruff' tripped over the line and 'The Groupie,' unappealing in comparison, went sprawling face-first. About the only good thing to come out of it is when we hear Hutch admit to Mr. Marks how much he earns a year: $22,000. Facts like that are fun, this episode is not.

*