Growing up in the 1990’s, I still remember when NBC ruled Thursday nights, with their Must-See-TV lineup.
Thanks to the involvement of Jurassic Park alumni Michael Crichton and Steven Spielberg, I soon had another show to watch along with Seinfeld and Frasier, when E.R. debuted in 1995.
Like millions across the country, I was soon deeply engrossed in the interconnected lives of the staff of County General Hospital, in Chicago, Illinois. The constantly-roving cameras, along with the hyper-kinetic scenes when the doctors would have to contend with emergency situations, soon had me sucked in.
All these years later, there’s been a few episodes that I can still recall parts of from memory. One of them came out twenty years ago this week, and I thought it fitting to do a Retro Recap on it.
As the episode starts, we find John Carter (Noah Wyle) and several of the E.R. staff, working on a little girl named Corinna Nelson (Nicolette Little). While her father Sawyer (John Thaddeus) only has a gash on his forehead from the vehicular accident they were involved in, Corinna has a ruptured spleen. Med student Lucy Knight (Kellie Martin) takes Sawyer to be stitched up, before returning to Corinna.
Doctors Mark Greene (Anthony Edwards) and Peter Benton (Eriq LaSalle) soon enter the room to examine the little girl, when her eyes close and her blood pressure spikes! A blood transfusion has been set up, but her body does not seem to be taking it. Lucy is sent to ask Sawyer if his daughter has any special conditions, but upon checking on him, she finds he has disappeared.
Sawyer had given Lucy some information, including the phone number for Corinna’s mother. Upon calling her, Lucy is given some shocking news: Sawyer’s name is actually Keith, and he kidnapped his daughter a few weeks prior!
Things don’t get better when they find out that Corinna has a very uncommon blood type, and the blood draw taken from Keith after the accident, confirms a match with his daughter. Carter inquires to the nearest blood banks, but finds nothing. Meanwhile, Lucy’s shift ends, and she attempts to follow the street address Keith gave her, even though Carter feels he just gave her false information.
Carter is soon relieved by Dr Greene, and takes off with a woman he knows named Roxanne Please (Julie Bowen). However, he also is informed by a member of the Chicago Police Department, that they found Keith’s totaled car came from a dealership in the Chicagoland area.
Carter attempts to spend the afternoon with Roxanne, but his mind is still on Corinna, and he heads off for the dealership, hoping to find information on Keith. There he finds out that Keith is a bookie, and the salesman tells Carter to check with a Bellhop at the Delaware Hotel downtown for more information.
Carter does so, and is surprised to find that Lucy is already there. The address Keith gave her was a former place he lived, and some locals in the area directed her to the hotel. A bellhop tells them that a guy named Toby knows Keith, and recommends they check out a meat-packing plant.
Back at the hospital, Corinna’s mother has arrived, but her daughter’s condition has worsened. With the lack of blood (her mother’s blood type does not match), her kidneys are in danger of shutting down.
It is then that Dr Kerry Weaver (Laura Innes) gives the team some hope. The rare donor program has found some frozen units of Corinna’s blood type in Nashville. The blood is soon on the way, and Corinna is prepped for surgery for her ruptured spleen.
Meanwhile, Carter and Lucy have gone from the meat-packing plant, to a dilapidated neighborhood looking for Toby. Lucy manages to find a relation who says he may be at a market nearby. However, as she glances up at the nearby El train platform, she sees Keith on it!
Carter quickly rushes across the street and jumps the turnstile. Unfortunately, he is accosted for not paying the fare, and he watches as the train leaves with Keith on it. Carter and Lucy then find Toby, who claims he doesn’t have Keith’s contact information, but suggests talking to a guy named Uncle Joey at Soldier Field.
Back at County General, the blood has been received, but there’s bad news. Several small holes have been found in the bag, which could mean the contents may have been exposed to bacteria. This leads to Dr Benton and the others to performing a “blood-less surgery,” attempting to repair the girl’s spleen, while trying to keep her from losing what little blood she has left.
Taking Uncle Joey’s advice, Carter and Lucy head to another address on the south side of Chicago. As they wander around some dilapidated buildings, they both begin to question each other’s motives in looking for Keith. Carter claims he went looking because he wanted to help. Lucy on the other hand, feels responsible since Keith walked away when her back was turned (which Carter had berated her for earlier).
“I shouldn’t have made you feel that way,” admits Carter. “Truth is, you’re the only med student I had that showed any promise.”
Things don’t get better when Carter ends up taking a fall, and dislocating his shoulder. The two decide to leave, but find that someone has torched Carter’s Jeep!
They then take off on foot, and soon come to a payphone. Lucy decides to call Toby back to see if he can provide more information, but Carter feels that they’ve reached a dead-end.
Surprisingly, Toby comes through, and provides them with an address that leads them to a small wooden shack along some train tracks. They find evidence that Keith and Corinna had been living in the shack, along with a phone message.
Playing back the message, they hear Keith’s voice telling someone named Inga that he’s across the street, and to check on Corinna at the hospital.
This sends Lucy and Carter headed back to the hospital to look for Inga, when Lucy thinks of Keith saying the words, “across the street.”
The two end up rushing into a restaurant called Doc Magoo’s across from County General, and sure enough…Keith is there!
Keith is quickly rushed over to the hospital, where Lucy draws his blood. He’s then wheeled into the room with his daughter and ex-wife, but it is then that Dr Greene explains Corinna’s condition. The spleen surgery came out successfully, but given how much time has elapsed since she first needed the blood transfusion, Corinna has slipped into a coma. She’s had multiple seizures, and her kidneys have shut down.
“But his blood will make her better, right?” asks Corinna’s Mom.
“A lot of damage has been done,” says Dr Green, quietly.
After getting his arm in a sling, Carter goes up on the roof, and finds Lucy there. While they were able to get Corinna the blood she needed, Lucy is upset that they couldn’t have saved her from her current condition.
“Some patients get to you more than others,” says Carter, sitting down next to her. “I know. But when you do everything that you can…sometimes, even more than you though you could, you got to walk away knowing you fought the good fight. You fought the good fight, Lucy. Tomorrow, you’ll fight another one.”
When it came to E.R., the general format for an episode, usually involved weaving multiple stories together like a hospital-based soap opera. Sometimes however, the show writers would give their multiple plot-threads a break, and focus on a singular event like this one.
In the E.R., the fight to save Corinna ends up being an event that touches almost every regular character on the show (even George Clooney’s Dr Doug Ross shows up for a few minutes). However, it feels almost like the secondary story arc, with the main focus being on John Carter and Lucy Knight’s quest to find Corinna’s father.
For the show’s fifth season, Lucy Knight was a newcomer to the hospital staff: a third-year medical student, but one that had some difficulty asking questions and getting a handle on certain elements. This led to a series of mishaps that soon ended up with her and John Carter at odds with each other.
With this episode, we both got to see each of them being strong-willed and caring people, who just want to help. The storyline isn’t too different from those we’ve seen before, where two characters who don’t get along, are forced to find common ground to achieve a goal.
The episode also had the two sharing some personal information about themselves. At one point when the topic turns to Keith “abandoning” his daughter, John and Lucy begin to divulge a bit about their own fathers. Carter admits that a father should stick around for his kids, only to find out from Lucy that her father wasn’t around when she was young.
The episode worked to bridge the communication gap between them, and going forward, the two ended up becoming a fan-favorite “pairing” that is still talked about to this day.
Looking back on the episode now, the storyline of the two looking for Keith Nelson seems a bit ridiculous. I doubt any medical drama today would use such a storytelling device, but the concept of doing whatever it takes to try and save someone definitely spoke to me. There’s even an added “emergency beat” when Carter comes across a woman in a housing complex, who is suffering from tuberculosis.
The final moment with John and Lucy taking a beat after their adventure, is still one of my favorite moments from the series. Carter’s speech about “fighting the good fight,” is one that I sometimes think about in my quieter moments.
Rated PG-13, for some sequences of fantasy action
After the release of Harry Potter and the Deathly Hallows, I was more than content to say goodbye to the world that J.K. Rowling had created, having enjoyed the grand adventure. Much like when George Lucas’ Star Wars Trilogy ended however, there were many that wanted to still play in the sandbox the author had created.
And so, Rowling revisited the Wizarding World, centering a new film series around the character of Newt Scamander (played by Eddie Redmayne). Newt’s adventures took place during the late 1920’s, and his first film showcased an adventure among witches and wizards in America.
In the Fantastic Beasts sequel, the action returns to Europe, as dark wizard Gellert Grindelwald (Johnny Depp) escapes confinement. At the insistence of Albus Dumbledore (played this time by Jude Law), Newt is asked to help in apprehending Grindelwald.
When it comes to sequels, many people eagerly anticipate seeing their favorite characters again. For this film, you do get Newt’s American friends returning (including Dan Fogler as Jacob Kowalski), but for the most part, the film doesn’t really seem to be about them.
Instead, we’re introduced to a large group of ancillary characters (including a few from the first film), and are given several mysteries to unravel. Unfortunately, the film just doesn’t give us enough time or development to care, as we’re throttled along from one new set-piece after another.
Unlike the first film, this one really seems to be trying hard to throw out little asides to those who are fans of the series. We get a few familiar name-drops, and if you’ve seen the trailers, a (brief) return to Hogwarts Castle.
I couldn’t help but wonder about the film’s writing process, given that this is Rowling’s second screenplay (after the first Beasts film). There are a number of times I couldn’t help but feel the screenplay could have benefited from some rewrites, to narrow the focus and make us care more about what was going on. At times, the film felt as overloaded with material, as Rowling’s fifth Harry Potter novel, The Order of the Phoenix.
Where the film does succeed, is in captivating us with even more magical creatures that Newt encounters. While fan-favorite Niffler is back, the film gives us some intriguing new animals, including a Chinese creature called a Zouwu. Sadly, the new menagerie isn’t enough to save the film.
This is going to sound like a major film-bash, but I can’t help but feel The Crimes of Grindelwald, could be this series’ The Last Jedi. I think a lot of people are going to go into this film with a certain set of expectations, and find they’ve wandered into a different film entirely.
By the looks of where the story is headed now, the Fantastic Beasts title seems almost like an afterthought. With three more films scheduled to follow, one wonders how much longer Newt’s life-long obsession with magical creatures will last on-screen, as he and his friends are pulled into a story that wants to be just as big as the one we saw in Rowling’s Harry Potter series?
Final Grade: C
For those of us who grew up in the 1990’s, there was one commercial ad campaign that you couldn’t ignore.
Beginning on October 27th, 1993, the Got Milk ad campaign officially began showing up on TV. Soon it would be in print magazines, on billboards, and many other places.
For many like myself who watched a lot of television in the mid-1990’s, there are many commercials that were made for the campaign, that are still stuck in my head. There were so many, that I decided to compile my (personal) Top 5 favorites from the Got Milk ad campaign (hint: most of them are from the early days of the campaign).
And so, here’s my little stroll down memory lane.
A nervous man enters a convenience store, and picks up three boxes of cereal, including Trix. At the register, the old woman chastises him for this.
“Don’t you know Trix are for kids?” she laughs, ringing him up, as he bolts out the door.
Once returns to his apartment, the man empties the cereal into a bowl, before suddenly, unzipping his skin(!), revealing that he is the Trix rabbit in disguise!
The rabbit is finally about to enjoy his cereal, when he realizes…that he’s out of milk!
Over the years, the Got Milk campaign would often bring some star-power into their commercials. After all, how else to get the kids’ attention, than to use characters and icons they were familiar with? Additional iconic characters used over the years, included The Powerpuff Girls, and Mario from Nintendo.
Personally, I felt that the Trix rabbit commercial was the stronger of these concepts, given that it played with the topic of desperation, and then trips up the main character right before he can achieve his goal…which was often a staple of many different Got Milk commercials.
Of course, if one looked at the commercial logically, the rabbit could simply eat the cereal without milk (plus, four years before this commercial came out, a promotional campaign had let kids across America, vote to let him eat the cereal during a Trix commercial).
As the clock strikes six, an old woman prepares to feed her cats. Unfortunately, she quickly realizes she’s all out of milk.
Looking for a substitute, she finds some non-dairy creamer in a cupboard.
“Oh look,” she says to herself. “Just like milk.”
Mixing the creamer with water, she then proceeds to feed the cats…but one lick, and they turn on her.
Next thing we see, are paws closing the blinds, locking the doors…and turning off the power to the house!
This was one of those commercials where someone tries to get out of a bad situation, but as we soon see, their fate is sealed.
Most likely thanks to a number of Stephen King-based films, we know that when you mess with cats, things aren’t going to turn out well. Though as the commercial begins, I don’t think anyone expected the final outcome, making the final moments both humorous…and a little uncomfortable.
As the commercial starts, we see a businessman firing someone over his cellular phone…before nonchalantly walking out into the middle of a street, and getting hit by a truck!
Next, we see him in an all-white world.
“Welcome, to eternity,” a female voice says, as the man notices a pile of huge chocolate-chip cookies on a table.
“Heaven,” he murmurs, taking some bites, before going to the nearby fridge, and finding it filled with milk cartons.
However, as he picks one up, he finds it empty. Pretty soon, he realizes that all of the cartons are empty!
“Wait a minute,” he murmurs, “where am I?”
Growing up, I often felt that Rod Serling’s The Twilight Zone had some important lessons. The most important lesson of all? Don’t be a jerk!
The businessman and his joy over someone less-fortunate than himself, seems very much in line with Twilight Zone characters who realize too late, what their selfishness has wrought upon themselves.
The kicker for this commercial, is we don’t even need to be told where this guy is spending “eternity.” It’s spelled out for us in the Got Milk logo we see at the end of the commercial…which is on fire!
In a boardroom, we see a number of men sitting around a large table, trying to name a familiar black-and-white sandwich cookie.
As the men dunk their cookies in milk and play with them, all sorts of names are thrown out, from “twist-o-cookie,” to “choco-lama.”
The head of the company (named C.W.), doesn’t feel any of these names are winners.
“What do you think, Hurley?” he asks, to a man with his mouth full of cookie.
At this point, Hurley attempts to pour himself a glass of milk, but finds the carton empty. Addressing the boss, he shrugs his shoulders, and mutters through his mouthful of cookie: “Or-eo (aka ‘I don’t know’).”
“Hurley,” say C.W., his eyes opening wide, “you’re a genius.”
I’ve always been a fan of word-puns, and the way the writers come up with the punchline for this commercial, has always been one of my favorites! It’s still funny to see Hurley’s “accidental genius” moment.
While we have seen other cookie-related Got Milk commercials, the Oreo sandwich cookie has often prided itself on being an accessory to milk. This was one of the few times where we had a food product referenced by name in one of the commercials, rather than the nondescript chocolate-chip cookies in a number of them.
As the commercial opens, we see a man sitting at a table, making a peanut-butter sandwich. As he stuffs the sandwich into his mouth, the radio program he’s listening to, begins it’s daily contest.
“For $10,000,” says the announcer, “who shot Alexander Hamilton, in that famous duel?”
The young man’s eyes go wide…as he’s sitting amongst all sorts of Hamilton-related historical items!
Just then, the phone rings. The man picks it up, and hears the announcer’s voice!
However, his mouth is still crammed full of sandwich, and he is unable to clearly say, “Aaron Burr.”
Grabbing the carton of milk nearby, he finds it to be empty…just as the radio announcer says his time has run out, and the phone-line goes dead!
I don’t think it’s any surprise that this, the first Got Milk commercial, ended up being my favorite.
What is surprising to a lot of people, is when they find out who directed this commercial: Michael Bay!
Bay’s kinetic filming and editing style is on display here, as the scenes cut fast-and-furiously all around the room. We get all sorts of information that the guy in the commercial is a huge fan of Hamilton and Burr, though when one stops to question things a bit more, it can make your head hurt (as most of Bay’s feature films have done).
The commercial went on to win several awards, and in 2015, was parodied in a promotional commercial, related to the hit Broadway musical, Hamilton.
Over the years, the Got Milk slogan would also end up being mentioned in a number of shows and films, cementing it’s place in America’s pop-culture. It would also be used in a number of other slogans (such as Got Jesus).
The campaign also branched out into advertising for chocolate milk, and even had a Hispanic outreach with the slogan, Familia, Amor y Leche (“Family, Love and Milk”).
In 2014, there was an attempt to change the Got Milk slogan to Milk Life. However, in the Summer of 2018, Got Milk officially returned, to try and give the dairy products a boost, in the face of 21st century offerings like almond and soy milk. Plus, just like the big to-do over the years regarding the health benefits/risks of “the incredible edible egg,” dairy-based milk may not be the be-all/end-all to strong bones, and prevention of osteoporosis.
It’s interesting to think about what has happened to the world of milk-based products over the past 25 years, and if the current attempts to steer people back towards the dairy aisle, will work as well in the early 21st century, as it did on people’s consumer tastes in the late 20th century.
Along with it’s introspection and sometimes humorous observations on topics like religion over the years, The Simpsons’ writers also had no problems skewering a common, everyday thing that many adults often find themselves wrapped up in: Politics.
Whether it was aliens Kang and Kodos invading Earth during an election year, or Homer rallying Springfield’s brainless slobs with a bunch of crazy promises, they often found ways to think up the most ridiculous political concepts that today, seem to have become (terrifyingly) prescient!
Most often say that when it comes to political figures, they want someone that is honest, has integrity, and will lead by good example. Sadly, that doesn’t usually happen to be the case most of the time. In the season 6 episode Sideshow Bob Roberts, the writers not only brought back an entertaining supporting character, but spun a story about how the manipulation of facts and truth, could make people vote for a man against their basic principles.
As the show opens, we find Homer and a number of other people in Springfield, listening to Conservative talk show host, Birch Barlow.
Barlow quickly begins checking off a number of constants that Springfield seems unable to do anything about, including it’s 6-term Mayor, Diamond Joe Quimby.
Barlow claims that a bunch of ‘tie-dyed tree-huggers’ are to blame for the town’s ‘Quimby Quagmire,’ and that the time supporting the Mayor, could be better spent ‘locking up the homeless.’
Later on that day, Homer and Lisa are out for a drive and listening to Barlow (mainly at the insistence of Homer). Barlow soon begins taking calls, and a man named Bob calls in.
“Thanks for putting the ‘public’ back in the Republican Party,” cites Bob. “It’s time people realized we conservatives aren’t all Johnny Hatemongers and Charlie Bible-Thumps or even, God forbid, George Bushes.”
The deep tone of the caller’s voice suddenly hits Lisa, and she realizes that Birch is talking to Sideshow Bob!
Sometime afterward, we see Mayor Quimby visiting the Springfield Retirement Castle, trying to get the Seniors there (including Grandpa Simpson) to support his new expressway plan. Naturally, the Seniors won’t support such a proposal, unless there’s something in it for them. Upon hearing about what they like, the Mayor suggests calling it The Matlock Expressway, and the Seniors quickly warm to the proposal.
We then hear Bob call back to Birch’s show, and claim that he was falsely imprisoned (“‘attempted murder,'” sneers Bob over the phone, “now honestly, did they ever give anyone a Nobel prize for ‘attempted chemistry?'”).
Barlow claims that this is another example of liberal bias against intelligent conservatives, and incites a number of his local listeners to protest for Bob’s release.
Mayor Quimby is soon overwhelmed by protesters, and wanting to avoid further negativity from his constituents, fully pardons Bob.
We then cut to a meeting at the Republican Party Headquarters (held in an ancient castle!). With the Springfield mayoral election coming up, a number of the party’s local members (including Mr Burns, Birch Barlow, and even actor Ramier Wolfcastle!), are seeking a proper opponent for Quimby.
“We need a candidate with name-recognition and media savvy,” says Mr Burns. “A true leader…who will do exactly as he’s told!”
It is then that Birch introduces everyone to Bob, with Ramier Wolfcastle claiming that he ‘likes the human touch’ that Bob brings to the group.
After Bob is confirmed as a viable candidate, he and Mayor Quimby do a press appearance with the kids at Springfield Elementary, concerning education. However, Bob puts on a show attempting to make Quimby look incompetent, and most of the kids just eat up his act.
Bart and Lisa attempt to steer attention towards Quimby, claiming they heard him say that ‘kids are the most important natural resource we have.’
“Even more important than coal?” questions news-anchor Kent Brockman.
Seconds after the ‘publicity stunt,’ Bart is thrown into a limo with Bob and some henchmen, and whisked away.
“Oh, that was a big mistake, Bart,” growls Bob. “No children have ever meddled with the Republican Party and lived to tell about it.”
It looks like Bob may have Bart eliminated right then-and-there, but his men simply put ‘Vote Bob’ paraphernalia on him, and return him to the Simpsons’ home.
Even with the threat of Bob possibly coming after him, Bart works with Lisa to help Mayor Quimby’s election, despite Quimby’s own rickety track-record.
“This time, he’s the lesser of two evils,” says Lisa, as they attempt to hand out bumper stickers and pins.
Just like Quimby, Bob also attempts to win over the Seniors at the Retirement Castle. He sweetens the Matlock Expressway deal, promising to build it, AND, spend the afternoon listening to the Seniors’ ‘interminable anecdotes’ (a move he quickly regrets).
Next, Bob and Quimby have a televised debate. While Bob seems confident, Quimby has caught a cold and has taken medication to combat it. However, his unkempt appearance and drowsy demeanor, makes the effervescent Bob quickly win over the audience.
When it comes time to vote on the candidates, some are willing to forgive some of Bob’s more glaring crimes.
“I don’t approve of his Bart-killing policy,” notes Homer. “But I do approve of his Selma-killing policy.”
“Well, he framed me for armed robbery,” thinks Krusty, “But man, I’m achin’ for that upper-class tax cut.”
Final election results are soon released on the local news, showing Bob winning 99% of the votes, and Quimby just 1% (“and we remind you there is a one-percent margin of error,” adds Kent Brockman).
After he wins, Bob makes good on (quickly) fulfilling his promise to build the Matlock Expressway…which is re-routed to go right through where the Simpsons’ house is, with Bob giving the family 72 hours to vacate.
Bart is also affected by the election, when Bob has him sent back to kindergarten (much to the delight of Mrs Krabappel).
As the family faces the loss of their home, Lisa begins to question the final election results.
“I can’t believe a convicted felon would get so many votes, and another convicted felon would get so few,” she thinks aloud.
Going to the Hall of Records, Lisa pores over the election results, but soon falls asleep. When she wakes up, she finds a letter telling her to go to a parking garage that evening.
Lisa brings Bart along, and the two come across a shadowy figure, who refuses to reveal who he is….until Homer turns on the car’s headlights, revealing the secret informant to be Mr Smithers!
The Simpsons then drive Smithers home. On the way, he mentions his misgiving about some of Sideshow Bob’s ‘ultra-conservative views,’ claiming they ‘clash with his choice of lifestyle.’
Wanting to help, he tells them to look for the name, Edgar Neubauer.
The kids check the phone books and the public library, but find no trace of Edgar. However, they are soon surprised when Bart sees the name on a tombstone in the local cemetery.
“Oh my God,” he exclaims. “The dead have risen and are voting Republican!”
Lisa tells Bart that in truth, Bob most likely solidified his win by rigging the election, and having a number of dead persons vote for him.
The list even uses names from the local Pet Cemetery…including Lisa’s dead cat, Snowball 1!
“Alright Bob,” she angrily cries out. “Now it’s personal!”
“Hey! He did try to kill me,” notes Bart.
With the information the two have obtained, Bob is put on trial, but attorney Lionel Hutz seems unable to get Bob to confess.
Lisa and Bart then step forward. Playing to Bob’s ego, Lisa claims that Bob was nothing more than a pawn in a scheme, run by Birch Barlow.
Bob’s hubris gets the better of him, and his calm demeanor breaks! He confesses to not only rigging the election, but also provides documents (that he conveniently carried in with him!) that tell of his plans.
“But why?” asks the judge, looking over the files.
“Because you need me, Springfield,” says Bob, grandstanding before the jury and the rest of the courtroom. “Your guilty conscience may tell you to vote Democratic…but deep down, you long for a hard-nosed Republican to raise taxes, brutalize criminals, and rule you like a king. That’s why I did it: to save you from yourselves! Now if you’ll excuse me, I have a city to run.”
However, Bob’s verbal outrage is enough to have him placed under arrest, and Quimby wins the election by default.
This also means construction on the Matlock Expressway is halted, sparing the Simpsons’ home (but angering the seniors at the Retirement Castle). Bart is also returned to the fourth grade.
As Bob reads the headlines, he vows to escape from his prison…which should be relatively easy, since he’s been placed in the Springfield Minimum Security Prison. Unlike a regular prison, it has no no fences, and it’s own rowing team of Ivy League educated prisoners.
Sideshow Bob Roberts marked Bob’s third major appearance on the show, and seemed to cement him as a constant thorn in Bart Simpson’s side, as each new season was rolled out.
Given the political nature of the episode, the show writers really play around with the absurdity of campaigns. In one television ad, a narrator tells how Mayor Quimby let Sideshow Bob out of prison, before telling the viewers to vote for Bob.
Even back in the early 1990’s, I and a lot of other people were often surprised when the show would poke fun at it’s own network.
This comes across during a debate, hosted by Larry King (voicing himself).
“Even though we’re being broadcast on…Fox,” he grumbles, “there’s no need for obnoxious hooting and hollering.”
And just like telling a child ‘not to do something,’ the audience takes the warning and just completely ignores it.
The Simpsons was often known for making film and pop-culture references in their episodes, and with this one, they also made reference to a real-world event.
The investigation into Bob’s rigging of the system, is largely inspired by the Watergate Scandal, which was exposed by Washington Post writers Bob Woodward and Carl Bernstein (Lisa even mentions them by name in the episode). Their work was shown in the film All the President’s Men, and several scenes in the episode mimic ones from that film. Even two of Bob’s henchmen that are constantly seen by his side, are based on Nixon staff members at the time: John Ehrlichman, and H.R. Haldeman.
The episode’s title is also a reference to a film from 1992, titled Bob Roberts.
Tim Robbins wrote, directed, and starred as that film’s title character: a conservative who sings folk songs, and attempts to run for public office in Pennsylvania. However, he seems to be hiding a number of political secrets, let alone trying to slip subversive messages into his numerous public song performances. At one point, he even goes on a popular late-night television show, and goes off-script to deliver his own message.
There are also references to Citizen Kane, A Few Good Men, the Kennedy/Nixon debate of 1960, and strangest of all: Archie Comics!
The Archie reference really has nothing to do with the overall political scope of the episode. We first see several of the characters dump Homer on the front lawn, and warning him to “stay out of Riverdale.” This is later followed by a scene of Homer angrily reading an issue of Archie, while Bart and Lisa meet their mysterious informant.
Why the writers included this reference in the story…I’ve never been able to figure out.
Word was at the time of the episode’s release in October of 1994, a number of Conservative persons felt the show was painting them in a very negative light. Even so, it is noted on the audio commentary included on the Season 6 DVD, that the writers claim that the episode pokes fun at many across the political spectrum.
It is notable that at the time of the commentary recording in 2005, several of the writers felt certain elements of the episode seemed to feel very similar to the political climate at that time.
I guess it’s the sad truth about politics: As much as people want things to change, it’s a neverending struggle to make things better for people.
When it came to films released in the early 1990’s from Walt Disney Pictures, the studio really seemed to look at their 1992 feature film Aladdin as a major cash-cow.
Following it’s release in the winter of 1992, the film became the first animated feature to gross over $200 million at the domestic box-office (largely buoyed on by Robin Williams’ supporting role as the Genie of the lamp).
The studio had had some success expanding on The Little Mermaid in television form (albeit set before the events of the film), and seemed to think they could have similar luck with Aladdin. And so, in the fall of 1994, the film’s characters found themselves appearing in the company’s new television series!
New locales were introduced, as well as a host of new characters. In terms of villains for the series, most seemed pretty set in their ways, except one: a young woman named Sadira.
Much like Aladdin’s introduction in the 1992 film, the character of Sadira is first seen evading Razoul and the Palace Guards in her introductory episode, Strike up the Sand.
Seeing her leaping and jumping to evade the guards, Aladdin sees a kindred spirit in the girl, and steps forward to cover for her. Unluckily for Al, his kindness and good looks instantly cause Sadira to develop a crush on him. However, she is soon saddened to hear that she has just been saved by Princess Jasmine’s future husband.
Sometime later, Sadira accidentally stumbles onto a hidden chamber under the city. The abandoned locale turns out to be the inner sanctum, of the long-forgotten Witches of the Sand. After going through a number of magic scrolls in the sanctum, Sadira soon gets to work learning the ancient magic, and thinks it can get her what she desires most.
Using a magical amulet, she conjures up a sand creature and commands it to bring Jasmine to her. it is notable that the sand creature tells Sadira that he could easily ‘smash’ Jasmine (destroying things brings him much joy!), but Sadira refuses to allow this, showing she is not as vengeful as her creation.
We soon see Sadira hasn’t fully thought through her magical actions. Once she has Jasmine kidnapped, Aladdin and the others show up, and the sand creature wants to smash them as well. Sadira isn’t sure what to do, leading to the creature getting angry at her indecisiveness, and taking the amulet away from her. Without Sadira’s control, it sets out to finish them all off.
Needless to say, Sadira feels remorse for getting everyone caught up in this mess, but Aladdin helps them formulate a plan to get back the amulet. Once it is destroyed and the sand creature disintegrates, Sadira apologizes for her actions.
Aladdin claims that while he likes her, his real love is for Jasmine. Jasmine even shows a willingness to forgive Sadira, and invites her to come to the Palace. However, the young woman declines, claiming she wants some time to be alone.
After they leave, she looks through some more sand-magic scrolls, and finds one about ‘shifting the sands of time,’ proving that she still harbors thoughts to try and snare Aladdin.
Shortly after her introductory episode, Sadira attempted to get Aladdin again…this time, with a more intriguing sand spell.
In the episode Sandswitch, she uses a special “memory sand,” allowing her to switch places with Jasmine, making everyone believe Sadira to be the Princess of Agrabah, and Jasmine a lowly ‘street rat.’ However, the spell only works on Genie and the humans of the city, leaving Iago, Abu, and Rajah as the only ones who realize what’s happened.
It is notable that even though she is again trying to fulfill her own wants and desires, Sadira continues to not be totally vindictive towards others. When she realizes Rajah did not fall under the sand spell, she decides to use some magic on him, but apologizes for what she is trying to do. Fortunately for Jasmine’s pet tiger, Abu and Iago help him to escape.
There’s even a little ‘continuity payback’ Sadira gets, when it comes to the head of the Royal Guards, named Razoul. In Strike up the Sand, Razoul was leading the guards in trying to capture her. Here, he is made to bow and give in to her demands. They also make a joke about his name, as Sadira keeps confusing it with other things that sound familiar to it.
In the end, Aladdin and Jasmine’s love is strong enough to break Sadira’s spell. However, even though she’d been thwarted a second time, she wasn’t ready to give up just yet.
Sadira next appeared in the episode, Dune Quixote.
Running into Aladdin in the marketplace again, she invites him back to her place for some pomegranate juice. Aladdin tries to politely decline, but when Sadira claims that Jasmine “has him on a short leash,” Aladdin won’t let this slap against his masculinity stand!
Once at her place, Sadira quickly puts Aladdin under a sand-spell, wherein she makes him believe he is a Dragon Slayer, who must ride forth to vanquish a dragon, rescue his beloved Princess, and give her a kiss.
However, before Sadira can finish her spell (with her as the beautiful princess in the story), Jasmine and the others show up to stop her. Despite Genie’s protests, Jasmine has him use his ‘genie-magic’ to stop Sadira’s ‘sand-magic.’ This altercation messes up the spell, leaving Abu trapped as a monkey-type horse, and Aladdin still believing he has to slay a dragon.
Sadira claims that because of the spell, the final parts of the story have to play out, which means Aladdin has to slay a dragon and kiss her. Jasmine doesn’t believe her, but thanks to his magical knowledge, Genie confirms that Sadira is correct.
As the story goes on, we see Sadira and Jasmine put aside their animosity towards each other, and try to get Aladdin and Abu back to normal. With Genie’s help, they manage to whip up a false dragon, and upon ‘defeating it,’ Aladdin kisses Sadira (much to Jasmine’s ire).
Once everything is fixed, Sadira apologizes to Jasmine for how she has acted, and it seems she is willing to give up on her obsession over Aladdin.
The episode ends with the two girls going off to peruse the marketplace, leaving Aladdin confused as to why he kissed Sadira (with Iago eager to spill the beans!).
Now that it seemed that Sadira had given up her obsession with Aladdin, the show’s main cast (almost) seemed willing to hang out with her.
This is revealed in the episode, Witch Way Did She Go. However, while Jasmine seems to believe Sadira has changed, Iago and Aladdin still have some doubts about her. Things don’t get better when Sadira serves her friends some soup, and her sub-par cooking skills accidentally turn Iago into an hourglass.
The spell eventually wears off, but the group grows more suspicious when a large sand snake menaces Iago and Abu!
Sadira is immediately the prime suspect, but Jasmine rushes to her defense. Unfortunately, her attempts to explain why the others suspect Sadira, ends up sounding like she’s accusing Sadira.
Angered at being accused, Sadira storms out of the palace and returns to her sanctum, only to find three ancient sand witches there (the ones who conjured the snake). The trio (Shakata, Razili, and Farida) have returned to their former home from The Realm of Mists, and are intent on taking control of Agrabah, and the Seven Deserts!
They attempt to get her to help them, but Sadira rushes back to the palace, to warn the others. Unfortunately, she overhears them once again claiming she’s bad, and returns to the witches, seemingly willing to help them take over the kingdom.
The others return to Sadira’s place (intending to apologize), but find the witches at work! Surprisingly, Sadira stops them from attacking the trio. After a scuffle that almost stops the witches, Sadira recommends that Aladdin and his friends be banished to the Realm of Mists.
The three witches open a portal to the ancient realm, but Sadira attempts to double-cross them! Razili and Farida end up being shoved in easily, but Shakata grabs hold of Sadira, attempting to drag her down with them!
Aladdin and the others rush to her aid, but Sadira falls into the mists below, and the pit disappears!
Everyone feels remorse for ever doubting Sadira…but a few moments later, she manages to escape, sealing off the witches for good! The others quickly embrace her, and it seems all traces of doubt about her character are gone.
After Witch Way Did She Go, Sadira never appeared again on the series. However, like many characters in the show, she was given a small ‘curtain call’ appearance in 1996’s direct-to-video film, Aladdin and the King of Thieves.
During the scene where Aladdin and Jasmine walk past a number of guests, one can see Sadira dressed in pink (see screenshot above).
While her character was not as memorable as the show’s more villainous characters like Mozenrath or Mirage, Sadira was definitely noticeable for being a very “gray-area” character.
Most of the time, she did things out of selfish desire, but it was interesting to see that she still held some moral principles. A good example is that she could have had Jasmine offed in one episode, but she was never that vindictive.
My guess is that after four episodes, the showrunners felt there was little more they could do with her, story-wise. It did feel like three episodes was enough for them to play out the “magical stalker” characterization (I’ve seen some anime series that would gladly stretch that type of character arc out over multiple seasons).
Over the years, I have questioned the scene where she falls into the Realm of Mists, wondering if they had originally meant for her to “disappear” from the series forever in this manner. It would have been a very dramatic end, given the others realizing how wrong they were to judge her as they did. Plus, in several episodes, the showrunners actually did have a few characters die!
Sadira’s storylines also expanded on the series’ ‘lore,’ by introducing ‘sand-magic.’ What Genie can do was soon classified as ‘genie-magic,’ and it was soon established that to mix the two magic-types, was very dangerous (as demonstrated in Dune Quixote).
Unlike Linda Larkin’s more ‘regal’ vocal tones as Jasmine, Sadira’s voice had a more bubbly, all-American girl vibe, courtesy of actress Kellie Martin (see right).
Most probably know Martin’s voice work from A Goofy Movie, where she voiced Max’s crush, Roxanne. She brings a bit of that tone to Sadira, but she gets to play a wider range of emotions as Sadira.
Of course, Sadira wasn’t the first reluctant villain the studio created. There was also the character of Bushroot in the Darkwing Duck TV series. After being turned into a plant-duck hybrid, Bushroot would sometimes be involved in evil schemes, but most of the time, he just wanted a friend, or to be accepted.
By the end of Aladdin, it seemed being accepted was all Sadira wanted as well. It is a shame that they never found a way to bring her back and assist the group with her sand-magic on another adventure.
While I am a huge fan of behind-the-scenes material and making-of books, I’m also a big fan of things that are meant to be materials from a series or show (that is, if the items are done right).
With the television series Star vs the Forces of Evil, creator Daron Nefcy and some of her associates, first attempted to give their fans a “tangible” item the year 2017, with Star and Marco’s Guide to Mastering All Dimensions. The book provided some insights by Princess Star Butterfly and her friends, along with some tidbits regarding Star’s Magic Book of Spells.
Introduced in the show’s first season, the book of spells has been handed down through generations of Mewni Princesses and Queens. It was a place where they could put down some of their own thoughts, and provide information about new magic spells they had come up with.
Also contained within the book, is a little blue man named Glossaryck of Terms. One would assume that he would be there almost like a helper, but most of the time, all he seemed to do (according to Marco Diaz), was “spout cryptic remarks and eat pudding.”
Though it is not-to-scale or as thick as the version seen on the show, Daron Nefcy, Dominic Bisignano, Amber Benson, and Devin Taylor have attempted to create a version of the book that reveals more about Mewni’s past…well, as much as is recorded by the women who ruled over the kingdom.
The main focus overall, is on the numerous princesses and queens that have come before Star Butterfly. Up until now, we only had a few names revealed to us from the television show, but this book quickly fills us in on the others we were less privy to.
Like many royal lines lines in our realm, Mewni’s has some interesting rulers, and a few “duds” here and there. Some of the entries are real page-turners, and others made my head droop as I struggled to stay interested. The book also gives information on several spells Star Butterfly has used, and just who in her past lineage, created them.
On the show, it was mentioned that the inside of the book is “a complete disorganized mess.” Of course, when dealing with a book for people to read from cover-to-cover in our dimension, it probably was made clear to Nefcy and her crew that there would need to be some semblance of order. However, the book does stick to it’s television counterpart, by having the table of contents in the center.
For those like me who were intrigued by the strange culture of Mewni, there was one thing I was hoping the book would finally do: blow the lid off of the strange symbols we’ve seen all throughout the kingdon on television.
While the book does not provide us with a Mewni-to-English alphabet, it does give enough information to allow the more astute readers, to decipher the symbols if they look through the book enough (or, just go online and find the people who have already figured it out!).
That ability for the readers to also interact with the book, seems to be something that creator Daron Nefcy prizes greatly. There was a bit of this in the last Star book she did, but here, that reader/book interaction is on display in a number of ways.
Readers are encouraged to cut out a few things here and there. Plus, it is assumed that the reader is now the book’s new owner, and is encouraged to personalize it, along with designing what their magic wand looks like, and creating their own log and spells.
The Book of Spells at over 256 pages, is almost on par with another show-oriented book that Disney Press released several years ago: Journal 3 from the hit television series, Gravity Falls.
Much like that book, Spells manages to take a tome that is well-known to the show’s viewers, and add some things that the die-hard fans are yearning to know about, as well as be an intriguing find, or a gateway to those who may not have heard of the series.
Personally, I was hoping for a bit more information written in the book from the numerous owners. At times, it feels like some sections were truncated due to the page-count.
Even so, I do feel that most fans of Star vs the Forces of Evil will enjoy what Disney Press has put out, and may bring in some new fans, who happen to come across the book.
In 2013, filmmaker Guillermo Del Toro released Pacific Rim, his ode to Japanese monster-movies. Five years later, director Steven S DeKnight would continue the film’s story, with Pacific Rim: Uprising.
Taking place ten years after the first film, Uprising showed us a world that has been altered in many ways by the former Kaiju invasions. The once-in-jeopardy Jaeger program has been reborn, upgraded to newer models, and standing by in case of another possible invasion.
However, there is also a threat from the corporate world, as China’s Shao Industries, looks to streamline (and possibly privatize) the Jaeger program.
Over the years, the publisher Insight Editions has handled a number of behind-the-scenes books for Del Toro’s films, and they have continued to provide their services with this book as well.
These days, there are often a lot of things going on in some films, that it’s on-screen characters don’t have time to explain or point out. This has led to publication/tie-ins in the form of prequel comic books or accompanying publications, which to someone like me, can be seen as a bit much (most of the time, I just want to walk in and see the film). However, I am often moreso intrigued about the development and design process, that brings to life the images on-screen.
With this book, author Daniel Wallace manages to not only shed some light on the development process of the film, but provide plenty of additional pieces of information from those who worked on the film as well. We get everything from actors telling about their audition process, to the sound effects crew talking about how they came up with specific audio experiences you will now think twice about.
Reading books like these, I’m often surprised how I come away finding out information about the design process, that I didn’t consider. A good example is that the coloration of the numerous Jaeger models we see, are tied into certain protective units or branches in our society.
A good example is a Jaeger named November Ayjax, whose duty is to patrol along the war-ravaged Los Angeles Coastline. The coloration of the Jaeger is blue, tying into the theme of it being like a Police Officer for the area, “keeping the peace.”
I was also pleased at the over-abundance of different concept and design examples throughout. A prime example is in the design of Gipsy Avenger’s head. There are quite a number of iterations, and it feels like what we see in the book, are only a fraction of them. That ability for the book to provide a great number of visual concepts, made me eager to keep turning pages, let alone going back to review them once I had finished it.
One concept that Insight Editions has used in a number of their books, is the inclusion of a number of removable, extra materials in their books.
For this book, they include everything from a collection of storyboard images, to Newton Geiszler’s (aka Charlie Day) Kaiju tattoo designs. While these are nice little additions to the overall book, I have felt that the company’s inclusion of these items affixed to the various pages gives them a greater chance of being lost. Personally, I feel they could have been included in a large envelope at the end of the book (maybe with a rubber-stamped “Classified Shatterdome Information” title across the front of the envelope!).
What I was most surprised about, was that while the book does give us insight into parts of the film, they also held back on revealing some major plot-points. I’ve often been apprehensive of some making-of books ruining everything about a film, but this one has just enough information to keep the overall story, a mystery. For the record, there are some images that do tie into some of the plot-twists, but they are never called out for the reader.
Earlier this year, I was eager to get my hands on another Insight Editions tome: The Art of Ready Player One. However, while that book gave me plenty of information, I felt it didn’t answer as many of the questions I had regarding it’s visual design/development phase. In contrast, The Art and Making of Pacific Rim: Uprising ended up feeling like a much more satisfying read. For those that enjoyed Pacific Rim: Uprising, this is definitely a fitting companion book, and one of the more well-compiled reads I’ve encountered in awhile that connects to a feature-length film.