Tag Archives: 1989

Throwback Thursday: NBC’s “Knight Rider” (1982 – 1986)

NBC’s “Knight Rider” might be the granddaddy of all 1980’s high-tech super-vehicle shows — if I had to guess which one was the most popular or most fondly remembered, this would be it.  (I suppose the other leading contender would be “Airwolf,” which we talked about a couple of months ago — but that was aimed at an older audience.)

“Knight Rider” was cheesy.  But most 80’s action shows were cheesy, and I still remember it as being decent enough.  Lord knows I and Mikey Wagner, the kid on the next block, were fascinated by it.

As anyone who remembers this show can attest, there is a key character that isn’t even hinted at in the intro below.  The car was sentient.  His name was K.I.T.T. (Knight Industries Two Thousand), and he was an artificial intelligence who actually who had a hell of a lot of personality.  K.I.T.T. was a super-intelligent, talking, futuristic, sleek, black sportscar, and he was an incongruous damned hero to us kids.

The other star was Davis Hasselhoff as Michael Knight.  We looked up to him too.  Hasselhoff, of course, is now better known for his subsequent starring role as a moronic lifeguard on the categorically awful “Baywatch” (1989 – 2001).  I remember seeing snippets of “Baywatch” in the 1990’s — it was constantly playing in the newsroom at my first job as a cub reporter.  (The guys there loved it.)  I remember being disappointed that one of my childhood heroes had somehow morphed into a male bimbo on the most saccharine and brainless TV show I had ever seen.  Hey, “Knight Rider” was a show for kids … but it was goddam “Masterpiece Theater” when compared with “Baywatch.”

Weird trivia — the voice actor for K.I.T.T. was none other than William Daniels, who also gave a stellar performance as John Adams in 1972’s film adaptation of Broadway’s “1776.”  It’s so weird seeing that movie and hearing the voice of K.I.T.T. come out of Adams’ mouth.

 

Cover to “Silverback” #3, Matt Wagner, 1989

Comico.

 

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Cover to “Aliens” Vol. 2, #2, Den Beauvais, 1989

Dark Horse Comics.

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A short review of Season 4 of “The Strain”

The fourth and final season of “The Strain” was easily its weakest, but was still fun enough to merit an 8 out of 10.

Season 1 was a unique, detailed, methodically assembled techno-thriller crossbred with vampire mythology — you could tell that it was adapted from a pretty decent book series by Guillermo del Toro and Chuck Hogan.  The show’s subsequent seasons progressively meandered farther and farther into comic book territory … the fourth felt loosely and hastily plotted, with spotty and confusing exposition.  (I was considerably confused until late in the game about who deployed nuclear weapons in the war between vampires and humans, when they did so, and what their strategy was.)

But what the hell.  I still enjoyed this.  The writers here still know where their bread is buttered, and gave survival-horror fans more of the screwball guilty pleasures they were tuning in for.  There was plenty of blood and gore (even if it’s only the white, worm-infested vampire blood that I suspect was easier for the censors to approve). There were more of the show’s creepy, cringe-inducing monster effects.  And there was plenty of action — right up until a finale that was predictable but cool.  (If you’ve been following the show the way I have, do you not want to see machine guns, explosions, swords and severed vampire heads?)

Richard Sammel consistently outshined everyone in his role as the WWII Nazi turned vampire Himmler.  What an extraordinary villain.)  It’s a further testament to his talent that the man actually appears sublimely good-natured in real life.  (He interacts with his fans from time to time on Facebook.)

The show actually surprised me, too, by how attached I got to its characters.  It hasn’t always been a show that is strong on its characters, but … I’m going to miss them.  Vasily Fet (Kevin Durand) and “Dutch” (Ruta Gedmintas) were two in particular that I found myself surprisingly attached to — especially considering that Dutch was a superfluous character that seems to have been added only for sex appeal and romantic tension.  I was rooting for both of them.

So I’d still recommend “The Strain,” despite Season 4’s failings.  To quote Jack Nicholson’s Joker in 1989’s “Batman,” “I don’t know if it’s art, but I like it.”  (Yes, I do know that Walt Disney said it first.  Whatever.)

 

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Cover of “The Sandman” Vol. 2, #1, Dave McKean, 1989

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Photo credit: By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=1493037

Cover to “Silverback” #1, Matt Wagner, 1989

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A very short review of “Cell” (2016)

The lower-budget “Cell” (2016) wasn’t quite the spectacular horror movie that I was hoping for.  (A Stephen King zombie film?!)  But it was still pretty good — I’d give it an 8 out of 10.

The screenwriting and directing are average.  The acting seems uneven too.  And, yes, that includes its curiously low-key performances by John Cusack and Samuel L. Jackson.  But the opening action set piece was well done, and it succeeds in capturing the creepiness and originality of King’s 2006 novel.  What a neat genre-buster too — this is zombie movie meets sci-fi film meets supernatural horror epic meets art-house road movie.  It really is an interesting (and quite divergent) variation of the zombie subgenre.

I’ll go ahead and answer the million dollar question for those who have read the book.  Yes, that widely unpopular ambiguous ending has been changed, and what we are shown is far more conclusive and satisfying.

By the way, this isn’t King’s first venture into zombie horror.  He wrote an excellent short story entitled “Home Delivery,” which I cheerfully recommend.  It’s far closer to mainstream zombie horror, and I think it would appeal to “The Walking Dead” fans.  I first read it in a worn copy of 1989’s “Book of the Dead” zombie anthology; it also appears in 1993’s “Nightmares & Dreamscapes.”

 

Monet, the Dutch Masters, and Mussels. Ya gotta love D.C.

Here are just a few more shots of Washington, D.C. and the National Gallery of Art this past weekend.  As I’ve lamented already, most of my photos did not turn out, so I am stealing many from my more talented friend.  If any of the shots below appeal to you, rest assured that they are not mine.

I’ve come to understand that I simply do not enjoy Monet and Van Gogh as other people do.  Their appeal is lost on me entirely.

But I damn sure enjoy Vermeer and Rembrandt.  Even to an utterly unschooled like my own, the Dutch Masters’ method of rendering light was amazing.  I told my friend that it almost seemed that sections of these paintings had light coming in from behind them … as though there were a hidden bulb beneath the canvas.

And I might have loved the incredible, sweeping, ethereal, dreamlike-but-detailed vistas of the American paintings even more.

That last shot should be recognizable to Civil War buffs, or even just those who can appreciate great war films.  It’s Augustus Saint-Gaudens’ 1897 memorial to Robert Gould Shaw, who filmgoers might remember being portrayed by Matthew Broderick in “Glory” (1989).  It’s huge.  It actually is an immense sculpture that takes up an entire wall, and is much larger than you might understand from its inclusion during the closing credits of the film.

I am precisely the sort of weirdo who enjoys “people watching” too.  And it’s easy at the Gallery, as visitors are so often occupied entirely by their objects of interest.

That gangly looking guy embarrassing himself in the video you see is me at the Canadian Embassy.  (Do we really need embassies with Canada?  We’re so chill.)  The sly Canucks have actually incorporated an … echo chamber into the building’s superstructure.  I know that sounds nuts, but it’s true.  If you stand withing that domed structure, it sounds as though every word you speak is amplified down at you.  It’s actually really incredible.

I was lucky enough to be treated by a rather generous friend to dinner afterward at La Belga.  It is a fantastic Belgian restaurant in the gentrified Eastern Market area above the Capitol, and it’s modeled after traditional European sidewalk cafes.

Good lord!  The “Mussels Diabolique” there were just … too damn good to describe.  They were the best mussels I’d ever had.  And that says a lot from a Long Island kid who grew up on seafood, working or chowing down in seaside restaurants.  Really.

Go there.  You’ll thank me for the recommendation:

http://www.belgacafe.com/

 

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Artwork from “Arkham Asylum: A Serious House on Serious Earth”

Written by Grant Morrison and illustrated by Dave McKean, 1989.

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Georg Kolderer’s “Augsburg Monstrum Koelderer,” 1989

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Photo credit:  “Augsburg monstrum koelderer” by Georg Kölderer – Bernd Roeck, Eine Stadt in Krieg und Frieden, Bd. 1, 1989, S. 37. Licensed under Public Domain via Wikimedia Commons.