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"Star Trek" (TOS) Main Cast Series created by Gene Roddenberry William Shatner as Captain James T. Kirk Leonard Nimoy as First Officer Spock DeForest Kelley as Doctor Leonard H. "Bones" McCoy James Doohan as Chief Engineer Montgomery Scott George Takei as Helmsman Hikaru Sulu Nichelle Nichols as Communications Officer Nyota Uhura Walter Koenig as Ensign Pavel Chekhov Majel Barrett as Nurse Christine Chapel Grace Lee Whitney as Yeoman Janice Rand Eddie Paskey furtively appeared in 57 episodes, most famously as Lieutenant Leslie. Season 1 (Sep 8, 1966 - Apr 13, 1967) (available for free on Amazon Prime) 1.0 - "The Cage" (Pilot) - Original Air Date November 27, 1988 (not a typo): Directed by Robert Butler, Written by Gene Roddenberry (Creator of "Star Trek") Featuring Jeffrey Hunter (Martin Pawley in "The Searchers," Harold in "Don't Look Behind You" on "The Alfred Hitchcock Hour"), Susan Oliver (Annabel Delaney in "Annabel" on "The Alfred Hitchcock Hour" (2), 3 Episodes on "Route 66"), Teenya in "People Are Alike All Over" on "The Twilight Zone"), Meg Wylie (Sister Florence in "The Night of the Meek" on "The Twilight Zone" (2)), John Hoyt (Principal Warneke in "Blackboard Jungle," Ross in "Will the Real Martian Please Stand Up?" and Dr. Loren in "The Lateness of the Hour" on "The Twilight Zone" (3), Bifrost Alien in "The Bellero Shield" on "The Outer Limits") [Many, and I would venture to say "Most," don't realize that the primary Talosian is played by a woman, Meg Wylie. It's truly interesting to see her in "The Night of the Meek," because you can get a good look at her as she's leading a prayer service. Susan Oliver is the famous "Green Girl" who is every guy's Dream Girl, pictured at the close of many Star Trek episodes. John Hoyt plays a solid (if critically overrated) role as the principal in "Blackboard Jungle." This is not *the* most enjoyable of episodes, but the more you watch Star Trek, the more you realize that it's *such* a classic, that it's important enough to demand a viewing, if not several. It's an important work, and sets everything in motion, but in my opinion, the two-part "remake" - "The Menagerie" - improves upon this original, and integrates this "true pilot" episode with the rest of the series, and if you have to watch one or the other, make it "The Menagerie," but that in no way detracts from the value of this, which eventually deserves its own viewing. The series was right to eventually publish this as its own episode in 1988.] 1.1 - "The Man Trap," - September 8, 1966 - Directed by Marc Daniels (Director of the first 38 episodes of "I Love Lucy"), Written by George Clayton Johnson (Writer of "Ocean's Eleven" (Novel), Writer of 7 episodes of "The Twilight Zone" (4), Co-Writer of "Logan's Run" (Novel)) Featuring Jeanne Bal (Penny Foster in "An Effigy in Snow" on "Route 66" (2)), Alfred Ryder (Goudy in "True Grit"), Michael Zaslow (Roger Thorpe on "The Guiding Light"), John Arndt (Mr. Pool in "Amy"), Bruce Watson (Technician in "Johnny Got His Gun," Tom in "The Swinging Barmaids") Budd Albright (Stuntman on all 76 episodes of "The Name of the Game"), Sandra Lee Gimpel (Prolific stuntwoman who also played a Talosian in "The Cage"), Ed Madden as Enterprise Geologist (Dr. Gary in "Man in a Chariot" on "The Fugitive") [The death of Crewman Darnell (Michael Zaslow) was supposedly the impetus of the first-ever utterance of the now-legendary line by Dr. McCoy, "He's dead, Jim" - or, at least. so say the reviews online, but, pssst, here's a detail: McCoy actually says, "Dead, Jim." And for the record, after the second death of Crewman Sturgeon (John Arndt), McCoy said, "He's dead." So, we still have no, "He's dead, Jim." Crewman Green (Bruce Watson) was the third death, but The Salt Vampire (technically named the "M-113 Creature") stole his identity, so there was no report at all of any death from McCoy to Kirk. Navigator Barnhart (Budd Albright) was reported via communicator from Sulu to Kirk as "Casualty, Captain," so despite the first four deaths in this episode, there's not a single "He's dead, Jim." And Professor Robert Crater (Alfred Ryder) makes *five deaths* in one episode, but Kirk noticed him, and simply said, "Dead." The Salt Vampire - like the primary Talosian, played by a woman: the successful and prolific Hollywood stuntwoman, Sandra Lee Gimpel, is the sixth and final death - I cannot remember *any* Star Trek episode with six deaths - five human - in sequence (as opposed to en masse). Also, I think there's a philosophical inconsistency here with wanting to destroy the creature (instead of simply feeding it with salt) as opposed to, for example, The Horta in "The Devil in the Dark." This was not a murderous creature; it was merely trying to eat. All deceased characters are listed by t (heir real names up above - and who knew that both primary alien-antagonists in the first two episodes were played by females? I'm probably the only person on Earth who knows, or cares, about things like this - God, I'm a loser, but damn I'm good at ferreting out detail. NB - About 2/3 of the way through the episode, immediately after Professor Robert Crater fires on Kirk and Spock to frighten them, Spock crawls backwards - in my opinion, it would be physically impossible to do this without having a production assistant pulling on his right leg: I think he was being pulled backwards - have a look and see what you think.] 1.2 - "Charlie X" - September 14, 1966 - Directed by Lawrence Dobkin (Kell in "The Mind's Eye" on "Star Trek: The Next Generation"), Written by - Teleplay: Dorothy C. Fontana (Co-Writer of 5 episodes of "Star Trek: The Next Generation" (2)), Story: Gene Roddenberry (2) Featuring Robert Walker (Michael Ely in "Across Walnuts and Wine" on "Route 66" (3) Jack (communist - the very first (and very last) person you see here) in "Easy Rider"), Charles J. Stewart (Clergyman in "Marsha, Queen of Diamonds" and "Marsha's Scheme of Diamonds" on "Batman"), Dallas Mitchell (Chat Hollis in "Even Stones Have Eyes" on "Route 66" (4) Tom Gavin in "Madigan"), Pat McNulty (Computer Technician in "The House of God"), Bob Herron (U.S. Navy boxing champion, Prolific stuntman), Don Eitner (Tony Barrata in "Queen of Blood"), Abraham Sofaer (Dr. Stillman on "The Mighty Casey" on "The Twilight Zone" (5), Arch on "Demon with a Glass Hand" on "The Outer Limits" (2), Haji on "I Dream of Jeannie") [Did you know that "Charlie X" (Charlie is played by Robert Walker) took its inspiration from "It's a Good Life," the infamous "Twilight Zone" episode which featured Bill Mumy as a little boy, terrorizing, and in complete control of, seemingly everything and everybody? If you've seen both episodes, the similarities will become instantly obvious to you, and if you notice the (very brief, but very obvious) actions of Antares Captain Ramart (Charles J. Stewart) and Navigator Tom Nellis (Dallas Mitchell), they're almost *exactly* like those of the townspeople in "It's a Good Life," although if you look at Charlie's face immediately beforehand, they were either willed into, or scared into, saying the nice things they did. About a third of the way through the episode, you'll hear a transmission to the bridge from the ship's galley (it's Thanksgiving), which says, "Sir, I put meat loaf in the ovens; there's turkeys in there now" - that voice is none other than Gene Roddenberry's, making a cameo. When Kirk takes Charlie into the workout area, the burly gentleman (Bob Herron) Kirk picks out to help him demonstrate some judo throws makes the mistake of momentarily laughing at Charlie, and Charlie sends him "to the cornfield," as the folks in "It's a Good Life" might say. Right after that, Kirk calls security, and two crewmen come in to take Charlie to his quarters, where he has now been confined - distrustful and angry, Charlie mentally knocks them down, and makes one of their phasers disappear - this kid is quickly becoming an obvious threat of unfathomable power, all controlled by the glands of an out-or-control, mercurial, 17-year-old who thinks everyone hates him and is "out to get him." Kirk takes enormous risk by standing up to him as a stern, paternal figure, when he knows full well that Charlie could blink him out of existence at any moment. At this moment, the viewer should take note of the brilliant lighting employed on Charlie's eyes (this is done throughout the episode), making him look even more supernatural and threatening. The possibility arises that Charlie is actually a Thasian - legendary "beings" with powers of transmutation, but McCoy swears that this isn't so - Charlie's readings are clearly those of an Earthling. The Navigator on the bridge during this time of crisis is a new, possibly one-time-only actor, played by Don Eitner, instructed by Kirk to lay in a course *away* from Colony Five, Kirk's hypothesis being that Charlie is too dangerous to be there. You know, for someone so uneducated, Charlie sure has a way with making Spock recite passages from William Blake (which Spock pulls off brilliantly). They wrote Kirk's Yeoman, Janice Rand (Grace Lee Whitney) off the show after several episodes of the first season - a shame, really, because Janice had the perfect combination of "beauty" and "bitch" - and that braided hair! Thankfully, when things are looking really bad, Deus ex Machina cometh to the rescue in the form of The Thasian (Abraham Sofaer)] 1.3 - "Where No Man Has Gone Before" - September 21, 1966 - Directed by James Goldstone (Director of "The Sixth Finger" and "The Inheritors" on "The Outer Limits"), Written by Samuel A. Peeples (Co-Writer of "Walking Tall: Final Chapter") Featuring Gary Lockwood (Frank Poole in "2001: A Space Odyssey," Jim Figg in "The Ring with the Red Velvet Ropes" in "Night Gallery"), Sally Kellerman (Ingrid Larkman in "The Human Factor" and Judith Bellero in "The Bellero Shield" (2) on "The Outer Limits," Sally Benner in "Thou Still Unravished Bride" on "The Alfred Hitchcock Hour" (3), as Major Margaret J. "Hot Lips" Hoolihan in MASH), Lloyd Haynes (Pete Dixon on "Room 222"), Paul Carr (Young man in "The Wrong Man"), Paul Fix (Judge Taylor in "To Kill a Mockingbird") [Wow, I cannot imagine how "Where No Man Has Gone Before" was televised after the first two episodes, at least not without a *lot* of explaining - either that, or television audiences in 1966 were so unobservant that they may as well have been staring at a blank screen. There are so many discrepancies between this (which was obviously filmed before the other two, just like "The Cage") and episodes 1 and 2, that it's almost like two different shows. Where do I even begin? There's Mr. Spock, who looks and acts completely different than the Vulcan we all came to know and love, the uniforms, the anomaly at the edge of the galaxy (which we never hear about again) and the equipment (for example, the "phaser rifle," which makes its only appearance in the entire series here), and that's just for starters. There *must* have been some commentary (in TV Guide? in the preview?) about how this was an early, experimental episode that represented Star Trek as it might have been, but isn't. When I was a kid watching reruns, I always wondered why some Star Treks were "different," with a strange-looking Mr. Spock, and just a different overall "feel," but you don't really question things when you're a child. Aside from these enormous differences, there's one blatant discrepancy: the name on Kirk's grave: "James P. Kirk," when his name was actually "James Tiberius Kirk," which I suppose was decided on later, assuming audiences wouldn't be watching episodes fifty-years later on Hulu. Gary Lockwood had a major role in "2001: A Space Odyssey," but then essentially vanished, and Sally Kellerman played "Hot Lips Hoolihan" (who we usually associate with Loretta Swit) in the movie version of "MASH" - this episode almost certainly helped them land both of those roles. The ending of "Where No Man Has Gone Before" is perhaps the first time we see the "softer side" of Captain Kirk, as he makes special mentions for both Mitchell (Lockwood) and Denner (Kellerman) in the official log, declaring that they both died in the line of duty (which, in truth, they did).] 1.4 - "The Naked Time" - September 28, 1966 - Directed by: Marc Daniels (2), Written by: John D. F. Black (Co-Writer of "The Naked Now" on "Star Trek - The Next Generation" (3)) Featuring: Bruce Hyde as Lt. Kevin Thomas Riley (Professor of Communication Studies at St. Cloud State University), Stewart Moss as Lt. Joe Tormolen (Dr. John Beck in "The Bat People." Website) [One of the most amusing (and uncharacteristic) lines in the entire series occurred when Sulu appeared on the bridge with his rapier, Spock takes him down with the Vulcan Neck Pinch, and then says, "Get d'Artagnan here to Sick Bay." Another gem was just before that when Sulu says to Uhura, "I'll save you, fair maiden!" and Uhura replies, "Neither." Although Bruce Hyde did a fine job as Lt. Riley, I found his "Irish Ballad" *so* annoying that I have a hard time watching this episode - viewers almost need to filter it out to preserve their sanity. George Takei, in his autobiography, "To the Stars," mentions that "The Naked Time" is his favorite episode. The funniest piece of trivia is near the beginning of the episode, when Spock and Tormolen are on planet Psi 2000 in their red suits, hovering over a frozen woman - in real life, the woman was a mannequin, and the red suits (remember, the show was on a very tight budget) were repurposed 1960s Art Deco-style shower curtains - ponder, for a moment, just how low-rent this is, and how silly the actors must have felt.] 1.5 - "The Enemy Within" - Oct 5, 1966 - Directed by: Leo Penn (Primetime Emmy Award Nominee for Outstanding Director in a Drama Series for "The Mississippi," Father of Sean Penn), Written by: Richard Matheson (Writer of 16 episodes of "The Twilight Zone" (6), "Duel," The Big Surprise" and "The Funeral" on "Night Gallery" (2)) Featuring: Jim Goodwin as Farrell (Fakir in "Emperor of the North"), Ed Madden (2) as Fisher [It says a lot about male nature that the first thing Alter-Ego Kirk does is go for the Saurian Brandy (and yet, he *didn't* go for Yeoman Rand; until he had a couple of drinks - then, he does. That was a pretty racy shot of Rand running away from Kirk, btw.). I didn't realize that Ed Madden (the geologist Fisher), who slipped and fell down the rock, covering himself in yellow powder, was also the geologist in "The Cage," having small speaking roles in both episodes. It's odd that, after Scotty showed both Spock and Kirk the dog (who was also beamed up with its fierce alter-ego), that they didn't instantly piece together the possibility of an alter-ego Kirk. Speaking of which, William Shatner is *much* better at portraying the "Gentle Kirk" than the alter-ego Kirk - he has a terrible makeup job, and this is one of the first (of many) examples of his horrific overacting. "The Enemy Within" is the episode with Sulu and the landing party stranded on the planet's surface, which goes down to -120 degrees Farenheit at night (they nearly freeze to death). Why couldn't the Enterprise have shot a phaser down onto the surface and heated up a rock for temporary warmth?] 1.6 - "Mudd's Women" - Oct 13, 1966 - Directed by Harvey Hart (Directed 5 episodes of "The Alfred Hitchcock Hour" (4)), Written by - Teleplay: Stephen Kandel (Screenplay for "Battle of the Coral Sea"), Story: Gene Roddenberry (3) Featuring Roger C. Carmel as Leo Walsh aka Harcourt Fenton Mudd (Rogel Buell in "The Mothers-in-Law"), Karen Steele as Eve McHuron (Virginia in "Marty"), Susan Denberg as Magda Kovacs (Christina in "Frankenstein Created Woman"), Maggie Thrett as Ruth Bonaventure (Prostitute in "Cover Me Babe"), Gene Dynarski as Ben Childress (Man in Cafe in "Duel" (2)), Jim Goodwin as Lieutenant John Farrell (Fakir in "Emperor of the North") ["Bridge to Transporter Room ..." "It's looking like two, Captain." As harmless as it seems, this is an early example (a late example?) of human trafficking - an exact contemporary to the 1967 Comedy, "Thoroughly Modern Millie," the viewer needs to suspend belief about this portion to be able to flow with the comedic aspects of this episode - for example, when the three lovely ladies beam aboard, Scottie, McCoy, and a couple others are hypnotized by the three ladies' beauty, and the dialog - Mudd (talking about Kirk's directness over the intercomm): "That fellow sounded a mite upset, didn't he?" McCoy (hypnotized, and not fully coherent): "Yes. Yes they are." None of this would be funny (which it is) if you can't suspend your knowledge of human trafficking, although the women in this case are somewhat willing participants, as Mudd gives them a hypnotic "beauty drug" so they can attract husbands - not only are they radiantly beautiful, but they also get what they want more than anything: a husband! Sure, it's somewhat neanderthal, but these are lonely miners on lonely planets without any female companionship, these beautiful women came from crummy situations they were happy to escape from, and this was filmed before human trafficking became exposed as a serious issue in our world (the late 1960s) - well, it's better than being Shanghaied, I suppose - now *that* would have sucked. Although "Mudd's Women" is considered a "comic Star Trek," the ship is in very real danger, and the Enterprise comes dangerously close to perishing - all because they were good-hearted enough to pluck Harry Mudd and his "cargo" out of the asteroid belt, almost completely draining their dilithium crystals in the process. This is a deceptively complex episode, with several storylines running in parallel.] Episode 7: "What Are Little Girls Made Of," October 20, 1966: 1.8 - "Miri," - October 27, 1966 - Director - Vincent McEveety (Director of "Firecreek"), Writer - Adrian Spies (Emmy Award Winner for writing "What's God to Julius" on "Dr. Kildare") Featuring Kim Darby (Mattie Ross in "True Grit"), Jim Goodwin (Survivor in "Ice Station Zebra"), Michael J. Pollard (Shoeshine Boy in "Appointment at Eleven" on "Alfred Hitchcock Presents," Best Actor in a Supporting Role Nominee as C.W. Moss in "Bonnie and Clyde"), David L. Ross (Reporter in "Rocky II"), Keith Taylor (Pizza King Delivery Guy in "Archie is Worried about his Job" on "All in the Family," Mouse in "Dirt Duel" on "Adam-12"), Ed McCready (Crook in "The Penguin Goes Straight" on "Batman"), Kellie Flanagan (Candice Muir on "The Ghost & Mrs. Muir"), Stephen McEveety (Co-Producer of "The Passion of the Christ"), John Megna (Charles Baker "Dill" Harris in "To Kill a Mockingbird") Episode 9: "Dagger Of The Mind," November 3, 1966: Episode 10: "The Corbomite Maneuver," November 10, 1966: Episode 11: "The Menagerie, Part One," November 17, 1966: <--- "Captain Pike, were any record tapes of this type made during your voyage?" <Beep ... Beep.> Episode 12: "The Menagerie, Part Two," November 24, 1966: <--- "Captain Kirk ... Captain Pike, he has an illusion, and you have reality. May you find your way as pleasant." Episode 13: "The Conscience Of The King," December 8, 1966: <--- "Are you Kodos?" Directed by Gerd Oswald, Written by Barry Trivers Episode 14: "Balance Of Terror," December 15, 1966: <--- "He's a sorcerer, that one - he reads the thoughts of my mind." Directed by Vincent McEveety (xx), Written by Paul Schneider (Writer of "The Looters") Featuring Mark Lenard (Prosecuting Attorney at Fort Grant in "Hang 'em High," Appeared in 5 Star Trek Films, Sarek in "Sarek" and "Unification" on "Star Trek: The Next Generation") Lawrence Montaigne (Mr. Glee in "The Joker's Last Laugh" and "The Joker's Epitaph" on "Batman") John Warburton (Bob in "Captain Fury") Paul Comi (Modeer in "The Crimson Witness" on "The Alfred Hitchcock Hour" (xx), 3 episodes of "The Twilight Zone" (xx)) Barbara Baldavin (Nurse Holmby on "Medical Center") Garry Walberg (Colonel in "Where is Everybody" on "The Twilight Zone" (xx) [This is an early version of the film "Das Boot," a quasi-submarine episode which takes its inspiration from the film, "The Enemy Below." Recall also that the cold open features the (almost-)happy wedding between Lieutenants Angela Martine and Robert Tomlinson (Stephen Mines), before crew members are called to battle stations. "Balance of Terror" is also the first episode in which Romulans are ever seen, and prejudice becomes a main sub-plot when it's revealed that they look a lot like Mr. Spock; ironically, Mark Lenard, who plays the Romulan Captain, would famously go on to play Mr. Spock's father, Sarek, in many future Star Trek episodes and movies, without so much as a reference to this episode.] Episode 15: "Shore Leave," December 29, 1966: Episode 16: "The Galileo Seven," January 5, 1967: 1.17 - "The Squire Of Gothos" - January 12, 1967 - <--- "I warn you that anything you might say has already been taken down in evidence against you." Directed by Don McDougall (Director of 42 episodes of "The Virginian"), Written by Paul Schneider (xx) Featuring William Campbell (Brent Reno (the first person to sing on-screen with Elvis Presley) in "Love Me Tender"), Richard Carlyle (Rezin Bowie in "The Iron Mistress") 1.18 - "Arena" - January 19, 1967: <--- Why doesn't the Gorn just bite his neck during this fight? Directed by, Joseph Pevney (Shorty Pulaski in "Body and Soul"), Written by - Teleplay: Gene L. Coon (Screenplay of "The Killers") and Carey Wilber (Producer of Teleplay of "A Question of Rank" on "Gulf Playhouse"), Story: Carey Wilber Featuring Vic Perrin (The "Control Voice" in "The Outer Limits"), Bobby Clark (The 10th Avenue Kid in "Santa Claus and the Tenth Avenue Kid" and Charles in "The West Warlock Time Capsule" on "Alfred Hitchcock Presents"), Ted Cassidy, Carolyne Barry (Female Engineer in "Home Soil" on "Star Trek: The Next Generation") [Aside from the single worst fight in the history of television, the odds of Captain Kirk being able to roll that huge boulder (which probably weighs 1,000 pounds) *up a hill*, to drop it on the Gorn, are precisely zero. It's incredible that Bobby Clark played *both* "The 10th Avenue Kid" *and* "The Gorn," although The Gorn was voiced by Ted Cassidy - young Bobby certainly grew up a lot between the two roles. Vic Perrin (the voice who "controls the horizontal, controls the vertical, etc." on "The Outer Limits," also had a voice role here: He was the first Metron you hear in this episode - now, if we only knew what he looked like (actually, Perrin was in plenty of roles). People remember "Arena" for the absurd fight, and the impossible lifting of the boulder by Kirk, but if you can put those two things aside, it's really a very good episode. One other thing you need to overlook: Assuming "Warp Factor 1" is equal to the speed of light (which I always assumed), at the end of the show, Mr. Sulu tells Captain Kirk that they're 500 parsecs from where they were, and Kirk tells him to head back at Warp Factor 1 - that would take a good 1,600 years., so they might want to speed it up a little bit.] "Gorn To Be Wild" on startrek.com 1.19 - "Tomorrow Is Yesterday" - January 26, 1967 - Directed by Michael O'Herilhy, Written by Dorothy C. Fontana (xx), Featuring Roger Perry (Dr. James Hayes in "Count Yorga, Vampire"), Hal Lynch (Big Henry in "The Way West"), Episode 20: "Court Martial," February 2, 1967: Episode 21: "The Return Of The Archons," February 9, 1967: Episode 22: "Space Seed," February 16, 1967: Directed by Marc Daniels (xx), Written by - Teleplay: Gene L. Coon (xx, Screenplay of "The Killers") and Carey Wilber (xx, Teleplay of "A Question of Rank" on "Gulf Playhouse"), Story: Carey Wilber Featuring Ricardo Montalbán (Tony "Pepe" Llorca in "Outlaw in Town" on "Alfred Hitchcock Presents" (xx), Khan Noonien Singh in "Star Trek II: The Wrath of Khan," Mr. Roarke on "Fantasy Island"), Madlyn Rhue (Ara Rados in "Every Father's Daughter" on "Route 66" (xx), Consuela Sandino in "The Dark Pool" on "The Alfred Hitchcock Hour" (xx), Secretary Schwartz in "It's a Mad, Mad, Mad, Mad World") 1.23 - "A Taste Of Armageddon" - February 23, 1967 - Directed by Joseph Pevney (xx), Written by - Teleplay: Gene L. Coon (xx) and Robert Hammer (Director, Producer, and Writer of "Don't Answer the Phone!"), Story: Robert Hammer Featuring David Opatoshu (Dorn in "Valley of the Shadow" on "The Twilight Zone" (xx), Ralph Cashman in "A Feasability Study" on "The Outer Limits" (xx)), Gene Lyons (3 Episodes on "The Alfred Hitchcock Hour" (xx), Psychiatrist in "King Nine Will Not Return" on "The Twilight Zone" (xx)), Barbara Babcock (Flora Alden in "Brenda" on "Night Gallery," Emmy Award Winner for Outstanding Lead Actress in a Drama Series as Grace Gardner on "Hill Street Blues," Emmy Award Nominee for Outstanding Supporting Actress in a Drama Series as Dorothy Jennings on "Dr. Quinn, Medicine Woman") Episode 24: "This Side Of Paradise," March 2, 1967: 1.25 - "The Devil In The Dark" - March 9, 1967 - Directed by Joseph Pevney (xx), Written by Gene L. Coon (xx) Featuring Ken Lynch (Charlie in "Mr. Denton on Doomsday" on "The Twilight Zone," Bernie Ryan on "Log 43: Hostage" on "Adam-12," Jail Guard Callahan in ") Episode 26: "Errand Of Mercy," March 23, 1967: Episode 27: "The Alternative Factor," March 30, 1967: <--- "This is a parallel universe?" ... "Of course." Directed by Gerd Oswald, Written by Don Ingalls Episode 28: "The City On The Edge Of Forever," April 6, 1967: <--- "You deliberately stopped me, Jim. I could have saved her - do you know what you just did?" "He knows, doctor ... he knows." Episode 29: "Operation Annihilate," April 13, 1967: Episode 99: "The Cage," January 1, 1966: <--- "She has an illusion, and you have reality - may you find your way as pleasant."

I was looking at some pictures of the Topps 1969 set of baseball cards, and it dawned on me that this may be the greatest year in history for quality of players: * This is Mantle's final card (and #500 in the set). The set also includes, among other Hall of Fame players from the 1950s: Mays, Aaron, Clemente, Frank and Brooks Robinson, Kaline, Killebrew, Banks, Yastrzemski, Drysdale, Mazeroski, Aparicio, Wilhelm, etc. * Players entering their primes include Rose, Gibson, Carlton, Marichal, Carew, Jenkins, Santo, Flood, Oliva, Brock, McCovey, Seaver, Stargell, Palmer, Reggie Jackson, etc. * Rookie cards include Johnny Bench and Nolan Ryan. * Ted Williams, Leo Durocher, Earl Weaver, and Walter Alston have cards as managers. To think I attended the All-Star game at RFK in 1969!

I wish I'd gotten a chance to see the great Mariano Rivera more than I had - for me living in the DC Suburbs, he was always "that guy up in New York who never loses." Some people that have really studied his cutter say it may be the single greatest pitch in MLB history.

As discussions swirl around the GS Warriors, the Cleveland Cavs and other teams, I keep going back to my favorite basketball "dynasty" (really meaning mini dynasty) of all time; the Kniicks from 69-70 to 72-73. Four years in the playoffs, three years in the NBA finals and two NBA championships. Very long ago. I realize that. I suspect that Steve R has memories of this mini dynasty. Any others? Here are some interesting elements to that team: For 3 of those 4 years they allowed the fewest points per game in the league. In the 4th year I think they allowed the third fewest points. They won championships with defense. They might have been the greatest passing team of all time; and did so while spreading the ball to the entire team with every player being a potential shooter and with no player dominating the shooting stats by any stretch of the imagination. Possibly the most balanced scoring of any championship team of any period. Completely unusual and even more balanced in that regard than other teams that approached ball distribution (thinking 2014 Spurs team as the most recent example and the 2004 Detroit Pistons before them). The Knicks of that earlier era simply spread the shots around more evenly than either of these two teams. Shooting stats from the team in the 69-70 season: (see below) The 69-70 team developed as a result of what had to be one of the great trades in the history of the NBA from the previous season, (68-69). Midseason the Knicks dealt the big talented but erratic Center Walt Bellamy and their starting point guard, Howard Komives to the Detroit Pistons and the Pistons sent forward Dave Debusschere to the Knicks. Reed became the starting center, Debusschere was the starting power forward and Walt Frazier became the starting point guard. From mid season on the Knicks developed into a league power. The enigma and missing piece was who would be the small forward, Bradley or Cazzie Russell. Cazzie was the better offensive player and scorer. Bradley fit Coach Red Holzman's scheme better. Holtzman put Bradley in the starter's role and it clicked. The 69-70 team was the epitome of this spread it around type offense, but it continued to operate in the same manner over the next 4 seasons; (through 72-73 another championship season and one additional year, as Debusschere, Reed, and Lucas remained with the team). It wasn't until Reed, Debusschere and Lucas left that shot attempts skewed more toward Frazier, Monroe, and thirdly Bradley. Remarkably when Earl the Pearl first joined the Knicks he changed from one of the leagues leading offensive weapons and leading shot takers, to the fifth option. He sacrificed his offensive orientation to be part of the team concept. I was lucky to watch them a fair amount. I moved to Baltimore for college and got to see Bullets/Knicks games in Baltimore. Possibly the greatest, most fierce mano a mano matchups in NBA history. Reed vs. Unseld, two height deficient Centers who were muscular physical brutes. (they must have crushed one another every game). Even more ferocious were the man on man battles between Debusschere and Gus Johnson two of the most rugged players in the league with Johnson additionally being one of the early skywalkers. Watching Bradley and Jack Marin play was fascinating in a different way. Those two guys covered a lot of ground from one side of the court to the other, moving out to the perimeter for outside shots. Man, those two guys were always grabbing and clutching. The creme de la creme matchup was the artistry between Earl Monroe and Walt Frazier. Mr offense vs Mr Defense. The Bullets emphasized offense, being one of the highest scoring teams in the league, the Knicks emphasized defense, being the league leaders. Over the course of a season neither team dominated, while the matchups and games were always fascinating. Everyone on those old Knicks could pass. Every player. The only starter who might not have been a stellar passer was Reed...but when you watched those games the Knicks always had a teammate in Reed's eyesight. He became a good passer and that coach and the teammates helped him become one. Well its over 40 years later...so who cares? Possibly Steve R, who related this great tale that I'm sure every star struck kid who idolized pro's would love to experience. (Steve R Schooling Earl the Pearl on the Playgrounds) As the current NBA season moves along, the Warriors with their great scorers also face defensive problems: players such as Harden, DeRozan, Westbrook, and Davis, all averaging over 30 pts a game, are monopolizing the ball; the Spurs play this Knicks type game, though nobody has ever distributed the ball like the Knicks....and the Cavs have the remarkable Lebron James..who admittedly makes his teammates a stellar team....I still yearn for those Knicks. PS (undoubtedly if one looks at old tapes of those games and that era today's players are more athletic. Still I maintain that Reed would be a star in today's game. He has a midrange jumpshot. How many of today's centers can do that? Uh...maybe one or two. He was amazingly tough against one and all including the giants of that time such as Chamberlain and Kareem. I can't see how anyone could control Monroe. His offensive moves were remarkably different and defied defensive efforts. If there was anyone who was as rugged and indefatigable as Debusschere he would probably be the all time best linebacker in all of football. I'd love to see Frazier play against today's guards. Besides passing his shooting was based on a sense of how to beat the defense, not just pure athleticism (like Larry Bird in a way). That team would be strong today. ....and getting back to Earl the Pearl. I defy anyone to come up with any player who could successfully defend against Earl the Pearl at any point in basketball history...

Dabo Swinney, born 1969 in Birmingham, AL. "Watch: Sweeney Hilariously Photobombs Reporter" by Tony Crumpton on tigernet.com "Watch: Reporter Gets Annoyed after Take Gets Ruined, then She Realizes It's Dabo Swinney" by Adam Spencer on saturdaydownsouth.com

What happens when one of your favorite chefs, whose restaurants you’ve greatly enjoyed in the past, becomes more and more successful? And by successful I mean keeps opening restaurants all over the damn place. Well, I guess on the one hand you can be happy for that chef’s success and be excited to try all of those restaurants. I mean, there is a chef or two here in New York who have gone on to fame and fortune and I’m pretty happy to be eating in most, if not all, of their establishments. But what about the other side of the coin, where as your favorite chef opens a new restaurant, one or more of the previously opened ones turns out to be not so good? Okay, the chef I’m referring to is José Andrés. You probably know José; a great cook whose food I've always admired, wildly popular, got a bunch of TV shows, Spain’s greatest ambassador, etc., etc. He has that great accent. He’s a partner (in Think Food Group) and ostensibly the Big Kahuna Chef of close to a dozen restaurants. He made his bones working in some of Spain’s top kitchens, including that of Ferran Adrià, of…well, you know…that Ferran Adrià. And then when he embarked to the United States, rather than heading for New York City and all of it’s potential fame and glory, he headed for Washington, D. C. - and whatever it is you go there for. In José's case, it was to open restaurants. Jaleo, Café Atlantico, Zaytinya - all good, if not great restaurants, as a matter of fact. Highly touted restaurants, which gave him and his partners the ability to open more restaurants. These were and are fun, happening places with good food, good times and fairly gentle prices. Then there were more – Oyamel, another location or two of Jaleo, minibar by José Andrés, a restaurant or two in Vegas, one or two in Los Angeles – you get the picture. Just last weekend, I was excited to try a restaurant of Jose’s that has been open for a while now – Oyamel, in D. C. Even though I’d be warned off by a friend who knows his food, I was curious ( said friend said it sucked, btw). But it’s José's place, after all, so off we went. Now, to say I was put off a little by being seated in the bar area, even though I had made a reservation weeks earlier, would be putting it mildly. My mood was made (slightly) worse when my protestations fell of deaf ears, as we were told by one of the 3 or 4 hostetts that it would be another hour’s wait to sit somewhere else (like perhaps in the restaurant), and that they didn’t consider our table to be in the bar area, even though, ummm, it was in the fucking bar area. I don’t know about you, but sitting in the bar area of a popular restaurant on a Friday night isn’t my idea of fun. Because sooner or later someone’s ass is gonna be about an inch from my guacamole, and at $13.50 an order, I prefer my guac sans ass, especially when it’s the ass of some tourist douche from Iowa. Be that as it may, I guess all would have been forgiven if the food knocked me out; that way I could prove my friend wrong, which is always fun. It didn’t…as a matter of fact, other than a really nice fresh hearts of palm and avocado salad, nothing was that exciting - not even the ass guac (okay, the chips and salsa were fine). Then it struck me; my last meal at Zaytinya, a place I’ve blogged and raved about in the past, wasn’t that great either. I mean, sure, it was ok and all, but it lacked a certain zing that I recalled from previous meals. These were both meals, that once were finished and we walked outside, I said to Significant Eater: “We don’t have to go there again!” So perhaps there are two lessons to be learned. One is for José and that is - don’t forget about all your other restaurants when you’re running around the world opening new ones and flogging yourself on TV. And the second is for me and that is, listen to (some of) your knowledgeable food friends – they (sometimes) know of what they speak.

*** SPOILERS FOLLOW *** (I'm assuming you've already watched the film if you're going to read this.) --- Continuing my recent trend of seeing movies I haven't seen in years, or decades, for the second time, I rented "Easy Rider" on Amazon - my general rule of thumb lately has been to rent movies that I've seen, and enjoyed, but don't really remember. I knew that Easy Rider is a beloved road movie starring Peter Fonda and Dennis Hopper; I didn't know their characters' names were Wyatt and Billy, respectively - for Wyatt Earp and Billy the Kid. With Amazon, you have the option of using "X-Ray" to glean little tidbits about films - for me, it's often helpful since I'm on my second viewing, but I can also easily see it being an annoyance - the good news is that it's easily deactivated. Since I'm more of an aesthete than a hedonist, I tend to use it for second viewings. My chicken's ready. I'm back. Do you get a little Robert Redford here? And, to Mr. Redford: *Happy 80th birthday this Thursday*! I doubt he'll see this, but hey, Jack Sock liked my tweet today! I didn't remember that Easy Rider popularized "The Pusher," which came out the year before: The brief scene when Wyatt looked at his watch and threw it on the ground is *so* late-60s, the rapid-fire changes in photos often seen in B-horror films, often with psychedelic music and sometimes with a girl screaming while realizing something. Wow, and all this during a cold open - I didn't even realize that. Well, as of right now, I'm 40 minutes into a 95-minute movie, and to be honest, I think it's pretty boring. Other than the obviously appealing imagery of the two men on the bikes (an iconic American image which will be around for a long time), we've visited a ranch - which was tolerable enough - and spent *way* too much time at a commune, and to what end? Perhaps this will tie in later in the movie, but as of right now, I wish they'd get the heck off that commune and get on their merry way. So far, this is poorly acted, without any clear meaning, and just plain dull. Also, the drug deal in the beginning has absolutely nothing to do with this except for financing their trip. It's the next day now. And now that I think about it, I'm not sure I've ever seen this film before, at least not in its entirety - I don't remember a single thing about it. I'm pretty sure I'd remember George Hanson (Jack Nicholson) riding on the back of that chopper in a football helmet. My biggest problem with the extended commune scene is that, one day later, I hardly remember a single person in the commune (or maybe, that's the whole point?); however, the campfire scene with George Hanson smoking his first-ever joint is priceless, and vintage early Jack Nicholson. *That* is some character development, and it only took a couple of minutes - it's the highlight of the movie, so far, in my mind. Dennis Hopper (Billy) - who got a little psycho-weird when he called BS on Hanson's UFO theory - always has a little bit of "creepy" to him, even here ... it's hard to get "Blue Velvet" out of my mind, even when I see him in such a vastly different role like this. Okay, the scene in the diner - with the local rednecks - is suspenseful. This movie is almost like a series of "short stories," linked together by motorcycles: Chapter 1 - Drugs, Chapter 2 - Ranch, Chapter 3 - Commune - Chapter 4 - Campfire, Chapter 5 - Diner. it's starting to chain together now, and I'm liking the movie more - it's almost like a theme and variations. Have you seen that internet meme that's been going around - the one about conservatives always longing for "the good old days" (itself a strawman - how many people have you actually heard say this?) and the liberals rebutting it by saying, "Name one single year that you'd like this country to return to" (of course, nobody can - the retort is nothing more than argumentum ad antiquitatem: an attempt to force the person to choose an easily debunked, logical fallacy). It's supremely ironic that Hanson said - after the diner scene - "You know, this used to be a hell of a good country. I can't understand what's gone wrong with it." Tables turned - most amusing, and whenever I come across things like that on Facebook, I realize I'm spending too much time on Facebook. I hope it goes without saying that I'm talking about "conservative" and "liberal" in the original, *non-political* definitions of the terms (the fact that I felt the need to say that makes me long for the good old days, when you weren't walking on eggshells every time you say something - we all need you, John Cleese): Hanson (Nicholson) is coming up with some compelling lines in this campfire speech, and I wish every food writer, celebrity chef, and hanger-on would watch this movie and pay close attention to what he's saying: things like, "It's real hard to be free when you're being bought and sold in the marketplace." Of course, even if they paid close attention they wouldn't dream of thinking that these words apply to them, so what good would it do? I'm sorry - did I just offend anyone? God, I hope so. Oh, man! And then he continues: "Of course, don't ever tell anybody that they're not free, 'cause then they gonna get *real* busy killin' and maimin' to prove to you that they are." Man, this movie's slugging percentage just went up - way, way up. As the Wikipedia plot summary says, so correctly: "He [Hanson] observes that Americans talk a lot about the value of freedom, but are actually afraid of anyone who truly exhibits it." I wonder how many people *aren't* going to look in the mirror right now - probably something close to 100%. Nevertheless, this bit of dialog is the best scene in the movie so far. And then what comes right afterwards? Wow. The cowards strike in the darkness of night - just as they always do. Interestingly, the two girls in The House of Blue Lights are played by Karen Black and Toni Basil. Amazing cinematography in the final scene - powerful stuff. I was *so certain* I'd seen Easy Rider before, but I'd never seen it in my life, and I'm glad I did.

If anyone thinks lowering the tone of "for a" doesn't sound like "for," I urge you to subscribe to Hulu, and watch this episode of "Route 66," with 13:40 remaining. The dialog goes, "And now, what's right for a man ...." and it sounds *exactly* like, "And now, what's right for man ...." See for yourselves. The episode is "Go Read a River," and even though John Larch says "for a man," it sounds just like "for man." Turn on the subtitles to make it easier to see. Really, the fact that Armstrong *always* insisted that he said "for a" pretty much seals the deal, don't you think? He didn't ad-lib this line - no way - it was much too important not to have thought out in advance. I inserted a space in the URL so it wouldn't self-resolve here. https:// www.hulu.com/watch/617871

This reminds me of the tragedy of Lyndon Johnson, who without Vietnam would be unquestionably one of our greatest presidents, in the same class with Lincoln and FDR. It just makes me weep when I think of it. Of course I hated him at the time, but that was all about Vietnam, which overshadowed everything. You younger people probably can't even imagine how Vietnam distorted and disfigured everything about our civic life as it crept into the crannies of our souls. You couldn't even fuck without Vietnam obtruding into the crevices of your pleasures. I look back on LBJ's presidency now and can only see what midgets his successors have been compared to him.

IMHO, Patton Oswalt is one of the funniest comics out there. His new stand-up special on Netflix, "Annihilation" is riotously funny and at the same time tremendously poignant. During the first third or so of the show, Oswalt lays down some jokes about the current POTUS that are freakin' hilarious. I have copied and pasted one of my favorite jokes below and whited it out so you can view it by highlighting. I don't want to offend anyone who doesn't appreciate humor regarding this topic. The rest of the show is devoted to his experience, over the last year, of dealing with the unexpected death of his wife and impact on his young son. Obviously a heavy and personal topic, but Oswalt pulls it off without being maudlin or undignified. I've never seen any stand-up routine quite like it. Actually, I feel bad about calling it a stand-up routine-- it's much more. I highly recommend it. A review from the AV Club Now the joke: --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- "And by the way, I feel bad — I feel bad for Trump.The poor guy — look. Here's what happened.They had that, that, uh, the journalist dinner, the correspondents dinner. Obama went up, made fun of Donald, very mean. And Donald said, "I'm takin' his job. You don't make fun of me. I'll take your job." Spent all this money. Now he has the job, and he's sittin' there, goin', "This job sucks. My life before this was amazing, it was golf and hookers and jets." Donald Trump taking Obama's job would be like if the head of linguistics at Rutgers made fun of David Lee Roth. And David Lee Roth was like, "I'm gonna take his job,zibbly-bobbly-boop." And then he spends 40 million dollars. And he goes into that first meeting like, "All right, I'm the head of linguistics at Rutgers! Bring on the hookers and the cocaine!" And they're like, "No, we're gonna talk about the lack of recursion in German Romantic poetry." And he's like, "Humaly-bebaly-zibbly-boobly? What just happened?"" ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Coming into tonight's game against the Houston Texans, the Kansas City Chiefs were the final remaining undefeated team in the NFL. After tonight's game, they're still undefeated - they are incredible. Their rookie running back, Kareem Hunt, is not only the leading candidate for the 2017 NFL Rookie of the Year; he's still seriously being mentioned in the NFL MVP conversation. Kareem Hunt has made the Chiefs' career-journeyman quarterback, Alex Smith, the best quarterback in the NFL so far this season - really! Look it up! Alex Smith! After five games, the man has 11 touchdowns and 0 interceptions. Quoted from NFL.com: Through five games, Smith has as many interceptions as he does losses: zero. Give him the respect he deserves. The Chiefs are so impressive that they forced several players into my medium-term memory - one of whom is the fastest player in the NFL: Tyreek Hill, who can achieve speeds of nearly 23 mph. As I write this with 1:13 left in the game, KC is beating Houston 42-26. They're the better of the two teams, and fully deserved to win this game despite the unfortunate injury of J.J. Watt. (Edit: The final score was 42-34.) Hat's off to you, KC.

Don't worry - I'm not going to subject you to extensive reviews of "The Mothers-in-Law" any more than I would "Petticoat Junction." But I was a classic, latchkey child growing up, and The Mothers-in-Law is a show that I watched dozens of times, so I thought I'd watch the first episode as a reminiscence. I had no idea the Executive Producer was Desi Arnaz, and this must have been premiered right after the breakup of Desilu Productions (which went defunct in 1967). This aired on NBC, and I read that they aired it on Sunday evenings against "The Ed Sullivan Show," which pretty much guaranteed a short run; I'm pretty sure I only caught afternoon reruns, although I don't remember. I recall, for some odd reason, liking Eve Arden as a child - my son accuses me of being a "hipster," of all things, because I eschew popularity (I dispute this, but that's another subject) - anyway, if it were true, my liking Eve Arden as a young child would be an obvious early example of such a thing. Yes, she was very popular, but not among young children. The most striking inconsistency in this show is the role of Roger Buell, which was played by Roger C. Carmel in season one, and Richard Deacon in season two. Does anyone know if unannounced character changes are as common these days as they were fifty years ago? it used to happen fairly often. "The Mothers-in-Law's" premise is two neighboring families, Eve and Herb Hubbard (played by Eve Arden and Herbert Rudley), and Kaye and Roger Buell (played by Kaye Ballard and Roger C. Carmel / Richard Deacon). Son Jerry Buell (Jerry Fogel) married daughter Suzie Hubbard (Deborah Walley), hence the entanglement of the two families, and the name of the series - Eve Arden and Kaye Ballard being the "mothers-in-law." Considering how silly and unremarkable the show was, there are some fairly big names throughout the cast, and between Desi Arnaz, Madelyn Davis (aka Madelyn Pugh), and Bob Carroll, Jr., it's little wonder that "The Mothers-in-Law" was a screwball comedy in a similar vein to "I Love Lucy." Anyway, what harm is there in watching the first episode? Season One (Sep 10, 1967 - Apr 28, 1968) 1.1 - "On Again, Off Again, Lohengrin" - Sep 10, 1967 - Directed by Desi Arnaz - (Ricky Ricardo on "I Love Lucy."), Written by Madelyn Davis (Writer or Co-Writer of 181 episodes of "I Love Lucy" (2)) and Bob Carroll, Jr. (Writer or Co-Writer of 181 episodes of "I Love Lucy" (3)) [This is a standard sit-com opener where the characters are introduced, the wives get into a fight, they cry and make up (that's the picture), the wedding is announced, and the future mothers-in-law meddle in the wedding - there's nothing special at all here. "Lohengrin" - aside from being a famous opera by Richard Wagner - is also a medieval Germanic legend about a knight (Lohengrin) who comes to rescue and defend a duchess - the obvious reference being to the mothers-in-law and their meddling.]

The amount of important, non-moon, news on Jul 20, 1969 was incredible:

Just thought I'd ruin your weekend with an earworm.

No, I'm not doing a retrospective of "The Brady Bunch" (goodness knows, I must have seen every episode when I was a kid), but I just read a couple of interesting pieces of trivia: Robert Reed was the second choice for Mike Brady; the producer's first choice was Gene Hackman (!), but he was too unknown at the time. Florence Henderson was the second choice for Carol Brady, after the role was turned down by her best friend, Shirley Jones, for "The Partridge Family." I can see Shirley Jones - she looks like Florence Henderson's cousin - but *Gene Hackman*? Good call going with Robert Reed (did you know he co-starred in "The Defenders?") - he fit the part; Hackman would have pulled out a gun and shot one of his kids in the back when they were running up the stairs. Season One (Sep 26, 1969 - Mar 20, 1970) 1.1 - "The Honeymoon" - Sep 26, 1969 - Directed by John Rich (Emmy Award Winner for "Outstanding Directorial Achievement in Comedy" for "The Dick Van Dyke Show" and for "Sammy's Visit" on "All in the Family")

*** SPOILERS FOLLOW *** "True Grit" is a continuance of 'Hollywood Classics which I've never before seen.' It begins with a surprise murder by Tom Chaney (Jeff Corey), then a distressingly *non*-surprising gathering at the Courthouse, where they're going to be hanging three men that day. Why people have always wished to gather to witness others being violently killed is beyond my capability of understanding. And in case you think our species has evolved since the days of the Wild West: Aug 14, 2014 - "20,000 Watched the Last Public Hanging 78 Years Ago" by Mark Murrmann on motherjones.com Hating human beings, but loving cats and dogs, is perfectly justified, don't you think? Hey, I have an idea! Let's all have a get-together, and push our kids on swings while three men await their deaths! Anyway, daughter Mattie Ross (Kim Darby) is understandably furious at the murder of her father, Frank Ross (John Pickard). Mattie is one of the witnesses to the public hanging, and thinks the cold-hearted judge (who "flips the switch") is *just* the man she needs to try the murderer of her daddy, and it's hard to blame her. Interestingly, Kim Darby was 21-years-old when she portrayed 14-year-old Mattie - she really does have a youthful appearance. Mattie reveals to us that she's from Dardenelle, in Yell County, Arkansas, establishing the setting of "True Grit." Frank Ross (Mattie's dad) was killed in Ft. Smith, just west of where the courthouse is, and one of the westernmost places in all of Arkansas. A pretty telling scene occurs when the Sheriff tells Mattie that Tom Chaney is now in "Indian Territory," which is out of his jurisdiction, and only U.S. Marshals can pursue him there. He names three of them for Mattie: the best tracker, the most merciless (Rooster Cogburn, played by John Wayne), and the straightest - Mattie immediately asks the Sheriff where she can find this "Rooster Cogburn" - she's out for vengeance, plain and simple. I'm very curious why Cogburn wears the eye-patch. This seems to have caught on as a generic "tough guy" symbol, and I wonder if this picture had anything to do with it - I suspect some older, pirate-based movie started it before this. Rrrrrrrrrr there any you can think of? Defense attorney Goudy (I didn't name these people) was played by Alfred Ryder, a character actor who was in many television shows, including "The Man Trap" - the first (non-pilot) episode of "Star Trek." (Darby, by the way, had the lead in the "Star Trek" episode "Miri" as the eponymous character - an important role.) In the same scene, there's a man sitting in the very front row of the courtroom, in what can only be described as a "bit part" - non-speaking, uncredited, and only on camera for maybe thirty seconds total. "True Grit," it turns out, was Wilfred Brimley's very first movie, and this is him - I think (but am not sure) that he's the somewhat stocky, somewhat balding man in the beige leather jacket towards the right of the photo: The only reason I even knew he was in here was because Amazon X-Ray listed him - there is *no way* I would have picked this up on my own. Brimley was personal friends with Robert Duvall - who plays Lucky Ned Pepper - and I strongly suspect that's how Brimley got the part - he was born in 1934, so he would have been only 35 when this was filmed. I'm not convinced this man is Brimley, but he's somewhere in the courtroom: When you see this film, concentrate on the initial, extended, one-on-one conversation between Mattie Ross and the Texas Ranger, Mr. La Boeuf (Glen Campbell). This conversation came across as stilted and poorly directed - essentially, an interplay between two inexperienced actors (which they both were) - nevertheless, this one falls on the Director, Henry Hathaway, and he didn't make it work. It didn't ruin the film, of course, but it was simply not a good scene. A very interesting note: I later read, long after I wrote the preceding sentences, in the "Trivia" section of the IMDB website, that Hathaway hated Campbell's performance, calling it "wooden," and only had him in the movie so he could have a hit song associated with it. If this *isn't* the worst scene in the movie, then that worries me. I. Do. Not. Like. Kim Darby in this role. I hope to God she gets better, because I have a feeling this film is going to hinge on her acting abilities. So far, Darby is every bit as "wooden" as Campbell - maybe more so. However, *this* gentleman, Chen Lee (H.W. Gim) knows how to slice bacon! As of right now, I'm 50 minutes into a 2'10" movie, and two of the three leads can't act worth a damn. I know that Duvall is going to show up soon, and so is Dennis Hopper - right now, I'm praying for a miracle, or at least that these two, along with Wayne, can act "louder" than Campbell and Darby - it must be so in order for this to be a good film: fingers, crossed. The film is half over, and we just met two horse thieves: Emmett Quincy (Jeremy Slate) and Moon Dennis Hopper (thank goodness - btw, when is the last time Dennis Hopper has been spotted in a role that involves being very "off?"): Maybe now, we won't have to watch Wayne attempt to carry the entire movie by himself - Wayne was a good actor, but he wasn't good enough to carry a film when he's handicapped with Campbell and and Darby. Well, five minutes later, so much for either Quincy or Moon possibly saving the film. Now, we have to hope for Pepper (Duvall), who will be along shortly. For those of you into biker flicks, Jeremy Slate played the leader of the gang, "The Born Losers," a sub-par but highly influential movie that was the first of the "Billy Jack" enterprise. For those few of you who saw the film, here's a little memory stimulant to help you remember Slate's role, that of gang leader and lead antagonist, Danny Carmody, Billy Jack's (Tom Laughlin's) nemesis and gadfly: With Quincy and Moon gone, and over halfway into "True Grit," I'm painfully reminded that - just as with all the other art forms including the culinary arts, wine, music, and sports - I don't like "movies" per se; I like *good* movies. And so far, this simply isn't one due to the sub-par acting and the plot, which is thus far moving at a snail's pace. Why have I heard so much about "True Grit" throughout my life? I refuse to look until it's over - I'm just going to try and enjoy it, or at least to glean whatever I can from it. The extended, character-developing dialogue that Darby and Cogburn had, about 1:15 into the film, was *so much better* than the dialogue that Darby and La Boeuf had early on, that maybe it was mostly Glen Campbell, and not as much Darby, who was completely devoid of acting talent. I really enjoyed listening to those two talk with each other, and the viewer really learned quite a bit about Cogburn in the process. This is a *very* imposing gang that Pepper has, and that Cogburn, La Boeuf, and Darby are going to have to face by themselves (Duvall is third from the right): The whole, extended attack scene, complete with rattlesnake pit, made up for a *lot* of the film's first half of ennui. It was exciting, dramatic, well-acted by everyone, and just plain fun to watch. In many ways, it might have been an inspiration for "Raiders of the Lost Ark." It is, by far, the high-point of the film, and enough on its own to make the movie arguably worth watching. Yes, it was a long, painful build-up, but it was one heck of an extended piece of suspense - even La Boeuf died a complete hero, winning over the hearts of all viewers. The near-mythical lawyer "Dagget" ended up being played by John Fielder, another famous character actor (who also played in "Star Trek," as Administer Hengst in "Wolf in the Fold.") He, too, deserves his own thread - he has done so much with his career, including being the voice of Piglet in "Winnie the Pooh." Dagget, to a much lesser degree, was to "True Grit" what "Keyser Söze" was to "The Usual Suspects." How do you not at least "like" a film that ends with such a sweet shot?

My favorite cover:

Jeffrey Hunter was a ruggedly handsome actor, popular in the 50s and 60s, and best known as Captain Christopher Pike on "Star Trek." Hunter was on track for a long career when he suffered unfortunate, probably related, back-to-back injuries in 1968 and 1969: the first, a concussion sustained by an on-set implosion; the second, an intracranial hemorrhage incurred by hitting his head after a fall. More prolific in film than television, Hunter was in dozens of movies between 1950 and 1969, including his roles as Martin Pawley in "The Searchers" (1956), and Jesus Christ in "King of Kings" (1960). Rockology: The Alfred Hitchcock Hour - Harold in "Don't Look Behind You" "Star Trek" - Captain Christopher Pike in "The Cage" and "The Menagerie"

Midnight Cowboy is one of "those movies" I assumed that I'd seen before, but upon watching it, I realized there's absolutely no way I had. What an amazing acting duo by Voight and Hoffman (Hoffman got top billing, but I think Voight captured this film). While this may be the first example of a long string of overacted character roles by Hoffman, he still managed to pull it off. Voight, on the other hand, just plain owned this movie - I cannot imagine anyone playing a better Joe Buck. This plot became so complex and dark that I was mesmerized and stunned into silence. I'd had a long day, and had to work to stay on top of things - this is not a film to be tossed off lightly. It's interesting that 1967 was considered the Big Year of Hollywood turnaround ("the year Hollywood grew up"), and Midnight Cowboy, two years later, carried that torch appropriately into the near future. This film was very sad, and it was progressive of the Academy to award it Best Picture given it's nudity and melancholy overtones.

The Pre Curry A recent tweet by Phil Jackson compared Mahmoud Abdul Rauf (previously known as Chris Jackson) to Steph Curry. The comment brought up a good bit of ridicule, but it could be that Jackson was recalling the results of a game he coached in the 95-96 season during which the Bulls were playing at a remarkable level and set a record going 72-10 regular season, then cruised through the playoffs. A middling to poor Denver team beat the Bulls in February that year. Denver actually crushed the mighty Bulls in the first half, withstood a monumental comeback and won the game. The guy who made it all possible was Mahmoud Abdul Rauf, simply one of the quickest guards(players) in the NBA, a remarkable outside shooter (one of the great free throw shooters of all time), and a guy who with his accuracy and quicks could get off an outside shot or whip past a defender with equal skill. Of course his style is different than Curry's, but his strengths of quickness, elusiveness and outside shooting emulate Curry's strengths. Abdul Rauf befuddled the Bulls, shredded their defense, scored points and assists, and most amazingly couldn't be stopped by the great Michael Jordan; too quick, too elusive, too basketball clever. At one point in the game Steve Kerr tries to guard Abdul Rauf and is simply outclassed. This of course brings to mind how helpless Kerr would be if there was a competition between today's Warriors and that '96 Bulls team. Kerr, as he acknowledges, would be a hopeless defensive liability. In any case the proof is in the viewing...a sort of precursor to Curry....uttterly crushing the best team in the league and possibly the best team ever in the NBA.

"Royals Rally Past Mets for First World Series Title since 1985" (*) by Billy Witz on nytimes.com "Kansas City Royals Rally - Again - To Win World Series" by Doug Criss on cnn.com "Relentless Royals Win World Series after Mets Throw it all Away in Ninth" by Bill Shaikin on latimes.com "Boswell: Fittingly, Royals Rally for Clinching World Series Win in Game 5" by Thomas Boswell on washingtonpost.com --- (*) And for those who don't remember the Don Denkinger incident (which I almost hate to bring up, because he had a long and honorable career): 1985 World Series on wikipedia.com

An article starring a good buddy of mine talking about the end of a highway plan that would have destroyed DC and his role in it: "The Insane Highway Plan That Would Have Bulldozed DC's Most Charming Neighborhoods" by Harry Jaffe on washingtonian.com For what it's worth, some people think that was the Three Sisters' curse, and not anything Matt and his crew did -- that doomed that bridge.

This is a great song. Here's Johnny Cash, performing it at San Quentin Prison:

Well, *I* actually understood, and appreciated, your humor, but I one-upped you, and I've never understood why this band made it so big. I'm Your Captain/Closer to Home is a good Grand Funk song. Their other hits...meh.

The Allman Brothers Band closed out 45 years at 1:30 am this morning at the Beacon Theater in New York City. Fittingly on the 43rd anniversary of Duane Allman's death. Rolling Stone with the review Final set List: First Set "Little Martha" "Mountain Jam" "Don't Want You No More" "It's Not My Cross to Bear" "One Way Out" "Good Morning, Little Schoolgirl" "Midnight Rider" "The High Cost of Low Living" "Hot 'Lanta" "Blue Sky" "You Don't Love Me" Second Set "Statesboro Blues" "Ain't Wastin' Time No More" "Black Hearted Woman" "The Sky Is Crying" "Dreams" "Don't Keep Me Wondering" "In Memory of Elizabeth Reed" (with drum solos) Third Set "Melissa" "Revival" "Southbound" "Mountain Jam" "Will the Circle Be Unbroken" "Mountain Jam (reprise)" Encores "Whipping Post" "Trouble No More"