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Classic US TV
'Police Woman'
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<blockquote data-quote="Snarky Oracle!" data-source="post: 82372" data-attributes="member: 57984"><p>One episode from latter Season 2 I like slightly more than I originally did is "<strong>The Pawn Shop.</strong>" It's not great-great, but it's watchable enough... Diane Baker plays a high-end art thief who is stern and brittle as only Baker can be, and Joan Collins, sans British accent, the semi-common former B-movie queen who's Baker's latest victim.</p><p></p><p><em>"The Han dynasty --- and that tart used it for flowers...,</em>" Baker snipes as prognosticatively as she does contemptuously about Collins' belongings she's just stolen and Joan's treatment of them.</p><p></p><p><img src="http://i17.photobucket.com/albums/b78/Marky888/pawnshop_1.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 749px" /></p><p></p><p>My memory of this episode is that Angie, newly subdued by the Squelch Angie Directive, had bad hair, bad lighting, and was permitted only the most routine delivery of her dialogue... It doesn't hit me so strongly now as it did eons ago, but it's hard to believe they didn't use -- or obtain -- another reading from her of the line, ".<em>... Don't you try and buy back insured items at a fraction of what you're supposed to pay out?"</em> to an insurance executive just before the squad opens the pawn shop designed to draw in Baker and her team of burglars. Dickinson stumbles through the sentence, and they used it anyway.</p><p></p><p>Was no one minding the store --- as it were?</p><p></p><p>And then there's the unfortunate subplot of the "cute" little neighborhood kid, Ricky Segall, who's bringing in stolen goods from his house to buy his mother a necklace from the shop Pepper and Pete are now running. Is the kid is the son of a TV executive? He <em>must </em>be, given how many Columbia TV shows he was shoe-horned into during the early-to-mid-'70s; anyway, the boy adds to the endless "you're so pretty!" dialogue the show and its guest stars continue to throw at Pepper every three minutes, despite the simultaneous movement to de-glamorize her... So the show really is at neurotic cross-purposes at this point.</p><p></p><p>However, there is a nice, almost-stylish scene at an art show between Angie and Diane Baker, the two sizing each other up, the repartee clever; the moment -- and Angie herself -- most reminiscent of early-Season One (a period in the show which otherwise feels very far away by now).</p><p></p><p><img src="http://i17.photobucket.com/albums/b78/Marky888/pawnshop_2.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 770px" /></p><p></p><p>The most amusing thing, needless to say, is Joan Collins. In full early-Alexis mode, a state of mind further enhanced by the fact that future DYNASTY head-writer (and PW story editor) Ed de Blasio is obviously writing her dialogue, she seduces (apparently successfully) Sergeant Crowley and his "lily white body" after he shows unusual vulnerability in his embarrassment that an actress he so reveres is making a shameless play for him... This is strictly the Alexis of DYNASTY's Season 2, full of pretense and flirty affectation and hoity toity cultural references and mysterious past liaisons -- and yet, much like that early-Alexis, infinitely more likeable and charming because she knows she's not presently at the top of the heap.</p><p></p><p>Few people could seem both so very '70s and yet so very '80s as Joan Collins.</p><p></p><p>Then Crowley escorts Collins (her name is "Prudence" in this) to a high society Hollywood party where Pepper, still undercover as a fence for stolen property, calls Joan "ugly" and Crowley responds "you get used to it." It's cute. And, truth be told, despite Joan's melodramatic silliness and already-excessive make-up, she is indeed gorgeous. (Angie, on the other hand, looks matted down like a mop in an evening gown).</p><p></p><p><img src="http://i17.photobucket.com/albums/b78/Marky888/pawnshop_3.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 759px" /></p><p></p><p>An irritation in the episode comes from the fact that the interior for the house used as Collins' mansion is that same stupid studio set with the curving staircase they've used in every other episode since the series began. Up until now, that was okay -- "old TV" being what it was in the pre-DVD age. But even in 1976, this seemed like one appearance too many. The jig was up. It's the same damned house and we know it. They can't fool us any more! ... What's worse, they use the set for <strong>two</strong> <strong>different scenes </strong>set at supposedly <strong>two different locations</strong>: Joan's house <strong>and </strong>the house hosting the party she later attends with Crowley.</p><p></p><p>Jeez! For a highly-rated TV show, couldn't they spring for the expense of filming at a real home in Brentwood or something??</p><p></p><p>Anyway, the final humorous occurrence comes when Diane Baker takes Pepper out on a nighttime burglaring test run, and, to assess the legitimacy of her skills, forces her to pick out "the finest piece" on the shelf of a mansion some rich person lives in but is presently away on vacation; it's humorous, because Pepper goes right for the tackiest Hummel figurine, and in so doing promptly blows her cover.</p><p></p><p>Ah, television.</p><p></p><p></p><p>------------</p><p></p><p></p><p>Coming into the last half dozen shows of Season 2, there is "<strong>Wednesday</strong>'<strong>s Child</strong>" featuring Paula Kelly reprising her role as Linda Summers, AKA: 'The Black Widow,' (first introduced a year earlier in perhaps the best Pepper-does-the-town installment of them all, "The Company"). In this new one, Edd "Kookie" Byrnes plays, somewhat improbably, a cat burglar who scales up the side of uptown apartment highrises and relieves the spoiled wealthy widows of their expensive jewelry, that jewelry then turned over to Robert Loggia... After Summers sets up Kookie with Pepper, resulting in the early nabbing of the burglar, the team decides to go after Loggia and the top guy buying the hot stones in San Francisco.</p><p></p><p>Angie gets to wear a pretty frock to seduce Loggia.</p><p></p><p><img src="https://www.bellazon.com/main/uploads/monthly_01_2013/post-65358-0-40795800-1359541533.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 701px" /></p><p></p><p>Once this sting is achieved, however, the cat burglar and Linda are targeted for revenge -- and to prevent their testimony, Linda's tiny daughter is kidnapped by the cackling cad who'd supposedly sired her. Such an ugly business.</p><p></p><p>The episode is okay, a little tighter than I'd remembered. But I find myself increasingly irritated with the tired choice of musical cues, that same "DOO daa doo DAA doo" composed by George Romanis the previous season but re-used ad nauseum, regardless of who's getting screen credit as composer on these stock score installments.</p><p></p><p>But there's a lovely scene at the beach with seagulls when Pepper and Linda match stories about their special relationships with their secret children: Pepper's no-longer-seen sister, and Linda's out-of-wedlock daughter.</p><p></p><p>The good guys prevail and the daughter is saved, but the closing moment with Pepper telling Linda in court to "go get 'em, friend" (or words to that effect) is really anemic.</p></blockquote><p></p>
[QUOTE="Snarky Oracle!, post: 82372, member: 57984"] One episode from latter Season 2 I like slightly more than I originally did is "[B]The Pawn Shop.[/B]" It's not great-great, but it's watchable enough... Diane Baker plays a high-end art thief who is stern and brittle as only Baker can be, and Joan Collins, sans British accent, the semi-common former B-movie queen who's Baker's latest victim. [I]"The Han dynasty --- and that tart used it for flowers...,[/I]" Baker snipes as prognosticatively as she does contemptuously about Collins' belongings she's just stolen and Joan's treatment of them. [IMG width="749px"]http://i17.photobucket.com/albums/b78/Marky888/pawnshop_1.jpg[/IMG] My memory of this episode is that Angie, newly subdued by the Squelch Angie Directive, had bad hair, bad lighting, and was permitted only the most routine delivery of her dialogue... It doesn't hit me so strongly now as it did eons ago, but it's hard to believe they didn't use -- or obtain -- another reading from her of the line, ".[I]... Don't you try and buy back insured items at a fraction of what you're supposed to pay out?"[/I] to an insurance executive just before the squad opens the pawn shop designed to draw in Baker and her team of burglars. Dickinson stumbles through the sentence, and they used it anyway. Was no one minding the store --- as it were? And then there's the unfortunate subplot of the "cute" little neighborhood kid, Ricky Segall, who's bringing in stolen goods from his house to buy his mother a necklace from the shop Pepper and Pete are now running. Is the kid is the son of a TV executive? He [I]must [/I]be, given how many Columbia TV shows he was shoe-horned into during the early-to-mid-'70s; anyway, the boy adds to the endless "you're so pretty!" dialogue the show and its guest stars continue to throw at Pepper every three minutes, despite the simultaneous movement to de-glamorize her... So the show really is at neurotic cross-purposes at this point. However, there is a nice, almost-stylish scene at an art show between Angie and Diane Baker, the two sizing each other up, the repartee clever; the moment -- and Angie herself -- most reminiscent of early-Season One (a period in the show which otherwise feels very far away by now). [IMG width="770px"]http://i17.photobucket.com/albums/b78/Marky888/pawnshop_2.jpg[/IMG] The most amusing thing, needless to say, is Joan Collins. In full early-Alexis mode, a state of mind further enhanced by the fact that future DYNASTY head-writer (and PW story editor) Ed de Blasio is obviously writing her dialogue, she seduces (apparently successfully) Sergeant Crowley and his "lily white body" after he shows unusual vulnerability in his embarrassment that an actress he so reveres is making a shameless play for him... This is strictly the Alexis of DYNASTY's Season 2, full of pretense and flirty affectation and hoity toity cultural references and mysterious past liaisons -- and yet, much like that early-Alexis, infinitely more likeable and charming because she knows she's not presently at the top of the heap. Few people could seem both so very '70s and yet so very '80s as Joan Collins. Then Crowley escorts Collins (her name is "Prudence" in this) to a high society Hollywood party where Pepper, still undercover as a fence for stolen property, calls Joan "ugly" and Crowley responds "you get used to it." It's cute. And, truth be told, despite Joan's melodramatic silliness and already-excessive make-up, she is indeed gorgeous. (Angie, on the other hand, looks matted down like a mop in an evening gown). [IMG width="759px"]http://i17.photobucket.com/albums/b78/Marky888/pawnshop_3.jpg[/IMG] An irritation in the episode comes from the fact that the interior for the house used as Collins' mansion is that same stupid studio set with the curving staircase they've used in every other episode since the series began. Up until now, that was okay -- "old TV" being what it was in the pre-DVD age. But even in 1976, this seemed like one appearance too many. The jig was up. It's the same damned house and we know it. They can't fool us any more! ... What's worse, they use the set for [B]two[/B] [B]different scenes [/B]set at supposedly [B]two different locations[/B]: Joan's house [B]and [/B]the house hosting the party she later attends with Crowley. Jeez! For a highly-rated TV show, couldn't they spring for the expense of filming at a real home in Brentwood or something?? Anyway, the final humorous occurrence comes when Diane Baker takes Pepper out on a nighttime burglaring test run, and, to assess the legitimacy of her skills, forces her to pick out "the finest piece" on the shelf of a mansion some rich person lives in but is presently away on vacation; it's humorous, because Pepper goes right for the tackiest Hummel figurine, and in so doing promptly blows her cover. Ah, television. ------------ Coming into the last half dozen shows of Season 2, there is "[B]Wednesday[/B]'[B]s Child[/B]" featuring Paula Kelly reprising her role as Linda Summers, AKA: 'The Black Widow,' (first introduced a year earlier in perhaps the best Pepper-does-the-town installment of them all, "The Company"). In this new one, Edd "Kookie" Byrnes plays, somewhat improbably, a cat burglar who scales up the side of uptown apartment highrises and relieves the spoiled wealthy widows of their expensive jewelry, that jewelry then turned over to Robert Loggia... After Summers sets up Kookie with Pepper, resulting in the early nabbing of the burglar, the team decides to go after Loggia and the top guy buying the hot stones in San Francisco. Angie gets to wear a pretty frock to seduce Loggia. [IMG width="701px"]https://www.bellazon.com/main/uploads/monthly_01_2013/post-65358-0-40795800-1359541533.jpg[/IMG] Once this sting is achieved, however, the cat burglar and Linda are targeted for revenge -- and to prevent their testimony, Linda's tiny daughter is kidnapped by the cackling cad who'd supposedly sired her. Such an ugly business. The episode is okay, a little tighter than I'd remembered. But I find myself increasingly irritated with the tired choice of musical cues, that same "DOO daa doo DAA doo" composed by George Romanis the previous season but re-used ad nauseum, regardless of who's getting screen credit as composer on these stock score installments. But there's a lovely scene at the beach with seagulls when Pepper and Linda match stories about their special relationships with their secret children: Pepper's no-longer-seen sister, and Linda's out-of-wedlock daughter. The good guys prevail and the daughter is saved, but the closing moment with Pepper telling Linda in court to "go get 'em, friend" (or words to that effect) is really anemic. [/QUOTE]
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'Police Woman'
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