television

Fast Times that really weren’t

It here’s a Newton’s Law of Moviemaking, it has to be: “For every great movie, there is a much lesser sequel, spin-off, or knock-off.”  In the case of Fast Times at Ridgemont High, it’s the second in the form of a blink-and-you’ll miss-it sitcom from 1986 called Fast Times.

Prior to my episode about the movie, I had only known of Fast Times as a piece of trivia that accompanied articles about the film or the television series’ stars (usually Courtney Thorne-Smith), and it never saw life in reruns or on video.  In fact, if not for the grace of YouTube, the seven-episode run of Fast Times would have remained that way, lost to television trivia history forever.  But as I wound up doing my research about the movie, I found the pilot episode (which has 23,000 views).

With Ray Walston and Vincent Schiavelli reprising their roles as Mr. Hand and Mr. Vargas, respectively, Fast Times attempted and failed to re-create the “slice of life in high school” the movie had given us in 1982.  I don’t know why the producers waited until 1986 to option this and put it on the air, but int he very least, it was at a time when teen flicks were big at the box office and shows like Fame had proven that you could take a teen movie and spin it off to a television show.

Our teen characters are the same as they were in the film but the actors are different, which makes sense considering that many of the stars of Fast Times at Ridgemont High were enjoying successful movie careers in 1986 (Judge Reinhold had already appeared in Beverly Hills Cop, Phoebe Cates had been in Gremlins, and Sean Penn had married Madonna) and were probably too old to play teenagers anymore (although that never stopped Gabrielle Cartheris).  Stacey (Jennifer Jason Leigh in the film) is played by a pre-Summer School Courtney Thorne-Smith, and Claudia Wells (who still had the smolder from her role as Jennifer in Back to the Future) stepped into Phoebe Cates’s role as Linda.  Brad was played by James Nardini; Rat, who is reduced to a couple of “walking through the mall” scenes is played by Wally Ward; Damone, who Robert Romanus embodied so well in the film, is played by Patrick Dempsey; and Dean Cameron (“Chainsaw” from Summer School) plays Jeff Spicoli.

The 26-minute pilot episode begins with a cold open shot from the point of view of Mr. Hand, who is making his way through the halls of the school and then walks into his class.  Spicoli skaeboards in to say he’s on time but is dismayed that someone is in his seat

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Mr. Hand then points out to Spicoli that his class was last period and Spicoli says, “That’s cool, you can just mark me early for tomorrow.”

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We then get a very late 1980s animated title sequence and a song by Oingo Boingo followed by an opening mall montage that should look familiar because it is recycled footage from the film (in fact it’s the opening of the film where “We Got the Beat” played over several mall scenes).  The movie footage is of such better quality that it seems completely out of place with everything else.

The episode, by the way, is directed by Amy Heckerling herself (who was also credited as a “supervising producer”), so I don’t know if she had a hand in this or was called in on a favor.  We pick up with our characters as we see Damone walking and talking with Rat and giving him typical Damone dating advice.

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They approach Stacy and Linda, who are cuddling puppies outside a pet store and flirt with them, although at one point Damone stops talking and starts staring at Stacy’s breasts.  Linda tells him that “They don’t speak English” and the girls walk off.

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We then switch to Cattle Burger, which is in the mall and which I guess was a way to have Stacy and Brad work in the same general area so that there could be interaction at times (All-American Burger in the film was a free-standing fast food joint away from the mall, where Stacy worked at Perry’s Pizza) and Brad wonders aloud if Linda would ever go out for him.  Brad’s boss (who is played by Paul Wilson, who would be a semi-regular on the later seasons of Cheers) reassures him that she definitely would and later on, we see him talking to Stacy about it in her room.

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School starts the next day (set to the same “Be Cruel to your School” song by Twisted Sister that was used in One Crazy Summer).  The teachers commiserate in the faculty lounge.  Leslie (Kit McDonough), who teaches a life skills class, seems to believe in Jeff Spicoli, which directly contrasts Mr. Hand’s assertions that Spicoli is a complete waste of space.  Hand bets Leslie that Spicoli won’t pull through on his presentation later in the week and it seems he may be right when Jeff bursts into the faculty lounge and says, “They didn’t move the bathroom in here.”

Brad, meanwhile, wants Stacy to work on Linda for him and Stacy does, telling Linda that Brad likes her.  Linda says she would  consider dating Brad but she is engaged to a guy in Chicago, after all.  But you can tell that she is more than just considering this when her face lights up at the thought of Brad liking her.

The Spicoli-Hand storyline gets the other majority of the plot, as there is a scene in the cafeteria (set to “Kids Wanna Rock” by Bryan Adams) that showcases his cafeteria food creation skills, and Hand is his usual stickler self, lecturing students on behavior and almost reveling in Spicoli’s inevitable failure.

In Home Ec (whose teacher is played by Twink Caplan, who is a regular in Heckerling’s films and most famously plays Miss Geist in Clueless), Linda agrees to a date as long as nobody knows about it.  Of course, as Brad walks through the mall later that day, he’s congratulated by everyone.

Leslie goes to the beach to talk to Spicoli, who is out surfing and asks if he’s ready for his presentation.  He gives some metaphor about waves but is all, “Sure.  But you can fail me if I suck.” She says she wants him to do a good job for her.

Linda wants to back out of the date, wondering what they’re going to do now that everyone knows, and Stacy says she’ll figure it out.  Figure it out, she does, taking Brad to the one event nobody at Ridgemont will be going to:

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They also head to Burger Chalet, where the guy working the drive-thru recognizes Brad and Linda simply has Brad take her home.  She expresses her frustration over everyone knowing about the date and even goes as far as to insult Brad’s cruising vessel.  When she tries to end the date there, Brad gets upset that she insulted the car and asks her to apologize, which she does and then spends a few minutes listening to Bryan Adams’ “Straight From the Heart” on the radio.  Does this lead to them kissing?  We’re not sure, because the screen fades to black.

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Back in school, Hand and Leslie wait for Spicoli, who shows up late and then gives a presentation about how teenage boys are scary, starring his younger brother Curtis (played by Jason Hervey).

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Spicoli aces the presentation, and even Mr. Hand has to admit that it was good, paying up on his bet.

Now, if there’s a spiritual successor to Fast Times at Ridgemont High, it’s probably the Sara Jessica Parker sitcom Square Pegs (something that is worth its own episode) and not this.  Had this show not used the same characters as the film, it actually might have had more of a shot, but being such a fan of the film, it seems so lesser.  

I give Ray Walston credit for trying to reprise his role as Mr. Hand the way he does.  I can tell that on some level, he wants to give him a little more depth and make him a little less harsh than he was in the movie (where he was a one-note character), but he doesn’t have the same chemistry with Dean Cameron as he had with Sean Penn.  Then again, Dean Cameron–who is absolutely awesome a year later in Summer School–has incredibly big shoes to fill and does what he can with it, although sometimes it seems like he’s doing a bad impersonation.  Dempsey, on the other hand, doesn’t even attempt Robert Romanus’ Jersey accent and plays Damone the same way he would play Ronnie Miller at the height of his popularity in Can’t Buy Me Love.  I’ll give Claudia Wells credit, though.  She’s always been one of those gorgeous 1980s actresses you wish you could have seen more of (see also: Mia Sara, Amanda Peterson), and she makes Linda very likeable.

Brad and Stacy, though, are just badly mischaracterized.  I like Courtney Thorne-Smith, mind you, but Jennifer Jason Leigh portrayed Stacy in a way that embodied the “Fast Times” of the film’s title, and Thorne-Smith is just a little too innocent.  Plus, the two of them didn’t have a very close relationship in the film.  Yes, Brad picks up Stacy after the abortion, but as I mentioned in the podcast episode, that’s a big brother move.  Otherwise, they were always separate, intersecting when it was necessary, which is something that two siblings of those ages would definitely do (I speak from experience).  Brad hanging out in his little sister’s room asking her for flirting advice?  Sorry, no.

I said at the beginning of this post that Fast Times is a little piece of trivia associated with the movie and that’s pretty much accurate.  You’re not going to fall in love with this sitcom and wish it had a longer life.  It’s not horrible by any means; instead, it’s simply forgettable and you’re better off renting the film.

Some clips are available on YouTube from time to time along with partial or full episodes.  Unfortunately, the pilot is not.  But here is the opening credits sequence:

A New Start

I may have neglected to mention the last time that I covered anything regarding Degrassi, which was about a year and a half ago, that I initially missed the finale of Degrassi Junior High.  For years, I knew that in the final episode of that season–“Bye Bye Junior High”–the school caught on fire during a dance, but I never actually saw the episode until someone sent me a video tape full of Degrassi episodes sometime in the early 2000s.  So back in 1990, I had no idea what happened and really no sense of the show’s continuity.  Sure, I knew who the characters were, but if a random DJH episode came on, I really couldn’t tell you what season it was from.

That changed when I tuned into watch Degrassi one day and saw a new title sequence, one for Degrassi High.  The characters were the same (for the most part) but they were older and at a new school.  The whole thing would end just like DJH had–with a dance after everyone learned the school was about to close–but that’s a few years off.  The episode that started DH was a two-parter, “A New Start.”

One of the things that can be the most heavy-handed part of old episodes of Degrassi is its educational aspects.  There was, to some degree, a mandate that the show had to teach and sometimes that issue was handled in an “issue of the day” sort of way.  That kind of happens in “A New Start,” even though the episode does its best to toe the line between a solid piece of teen drama and a very special episode.

While the cast is forced to adjust to its new surroundings and we get some great subplots, involving Joey, Wheels, and Snake getting hazed by older students, including Duane (who would become a key character later in the show’s run) as well as the introduction of new characters like Claude (more about him in future episodes), this one revolved around the twins:  Heather and Erica.  It seems that over the summer, they held the time-honored teen jobs of camp counselors and while working at the camp, Erica met and lost her virginity to one of the other counselors, a guy named Jason.  It wasn’t out of character completely–Erica was always more boy-crazy than Heather–but the complication that arose was that by the end of the first part of “A New Start,” Erica discovers that she’s pregnant.

So begins a story that even today would be considered controversial:  Erica gets an abortion.  Most of the second part is devoted to her contemplating the abortion, seeking counseling, and arguing with her sister, and it ends with the two of them walking either up to or into the abortion clinic, depending on what version you saw.  It’s a tough topic to approach and the writers do this deftly, as do the actresses.

One of the most important things to point out about Heather and Erica, which is highlighted in a pretty forced class discussion about abortion, is that the girls are a part of a very conservative Christian family, so when Erica brings up the topic as a way of working through her feelings (like I said, it comes off as a little forced) and gets a discussion going that  properly highlights multiple sides of the issue.  When Erica openly wonders if it could be the right choice for someone, Heather gets visibly upset and talks about how babies die every day in the “killing centers.”

Looking back at it, twenty-five years later with the perspective of someone who now has well-established views on the issue, this discussion and some of what Heather says comes off as almost satirical; however, when I was thirteen years old, I really didn’t know what an abortion was aside from it being an issue I heard about on the news.  “A New Start” made an attempt at presenting abortion in a way that was straightforward, and Heather’s inner conflict is well done, too.  Erica wants her support and Heather is so anti-abortion that she doesn’t know if she will give it, but eventually she puts her love for her sister above her political ideals and walks with her when she goes to the clinic.

The original ending freeze frame to “A New Start, Part Two.” This was only aired in Canada. The U.S. version, shown on PBS, ended a few moments earlier.

That last scene, by the way, caused a controversy, at least among those who were aware of it back in 1990.  The episode originally ends with Heather and Erica making their way through a crowd of anti-abortion protesters and freeze frames on a woman holding a figurine of a fetus as they walk in the door.  This was too much for PBS, who truncated the American version of the episodes by a few seconds and ended with a freeze-frame of their faces.  The episode still aired, though, which is more than I can say for a similar episode of Degrassi: The Next Generation which aired in Canada but was initially not shown in the U.S. by the cable network The N (incidentally, neither was “A New Start” or a later episode that referenced the abortion).

I don’t know if this opener was a way for Degrassi High to make a statement that they weren’t going to shy away from heavier topics now that characters were older, but it certainly gripped me and up until the show seemed to vanish from my television, I never missed an episode.

Both episodes can be found on YouTube …

Part One:

Part Two:

Pop Culture Affidavit, Episode 46: The Pop Culture Affidavit TV Theme Song Countdown!

Episode 46 Website CoverRiding the coattails of The Palace of Glittering Delights, I’ve got my own TV theme song countdown. There’s comedy! There’s drama! There’s Canadians! There’s Hasselhoff! Join me as I count down twelve of my all-time favorite TV theme songs.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

For your viewing pleasure, here’s all of the theme songs I mention in the episode.

Billy Joel, “Sleeping With the Television On” (the episode’s opener):

Star Trek: The Next Generation

Star Trek: The Motion Picture

CHiPs

Hill Street Blues

Community

California Dreams

Friends

Great Scott!

House of Cards

Charles in Charge

Growing Pains

The Facts of Life

Mad About You

Night Court

Cheers

The extended version of “Where Everybody Knows Your Name”

Degrassi Junior High and Degrassi High

Beverly Hills, 90210

The West Wing

My So-Called Life

Baywatch

21 Jump Street

Where in the World is Carmen Sandiego?

Pop Culture Affidavit Episode 45: Live From New York, it’s Saturday Night!

Episode 45 website coverIt’s a coattails-riding self-indulgent trip down comedy memory lane as I spend 30 minutes talking about Saturday Night Live, which just had a huge 40th anniversary special this past Sunday. Here, I look back on another anniversary special from the show, its 15th anniversary special, which aired in the fall of 1989, and I also talk about how the show has had an effect on me since I’ve been watching it for the last 25 years.

Here’s where to listen:

iTunes: Two True Freaks Presents Pop Culture Affidavit

Direct Download

Two True Freaks Presents: Pop Culture Affidavit podcast page

Pop Culture Affidavit Episode 42: Closing the Door on 1994

Episode 42 Webpage CoverIt’s the end of the year and that means it’s the end of my year-long series, “1994: The Most Important Year of the Nineties!” I close things out with another grab bag that features music, movies, television, politics, and the Internet and then give a final, closing statement about why 1994 is the most important year of what’s proven to be an incredibly important decade.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

And for your viewing/listening pleasure, here’s some things that were covered in the grab bag or at least mentioned at one point or another …

Dave Matthews Band: “Best of What’s Around”

Hammer: “Pumps and a Bump”

Weezer:  “Buddy Holly”

Beastie Boys: “Sabotage”

Scenes from The Ref

Opening credits to Party of Five

BoDeans: “Closer to Free”

Live: “Selling the Drama”

Live: “Lightning Crashes”

The trailer for True Lies

A call from The Jerky Boys

Dave Matthews Band: “Ants Marching”

Real McCoy: “Another Night”

Pop Culture Affidavit, Episode 40: What Happens When People Start Being Polite and Start Gettin’ Real

?????????????We’re nearing the end of 1994: The Most Important Year of the Nineties and in the penultimate episode of the series, I’m showcasing what is one of the most important television series of the Nineties, The Real World. Specificlally, I take a look at season three: San Francisco, which starred Judd Winick, Pedro Zamora, and “Puck.” The episode includes a run-down of the history of The Real World up to that point, a look at the season and then a look at the season’s legacy as well as Winick’s 2000 graphic novel, Pedro and Me.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

Also, you can buy Judd Winick’s Pedro and Me, it is still available on Amazon:  Pedro & Me: Friendship, Loss, and What I Learned

Also, here’s some of the stuff featured in the episode …

A compilation of the intros to The Real World …

The “Why Doesn’t MTV Play Videos Anymore” sketch from Brian and Maria …

Pop Culture Affidavit Episode 39: Must See TV!

Episode 39 Webpage LogoIt’s Thanksgiving time and 1994: The Most Important Year of the Nineties continues with a look at the biggest night of network television that year–NBC’s Thursday night Must See TV lineup! Join me and my wife, Amanda, as we sit and watch the episodes of Mad About You, Friends, and Seinfeld that aired on November 17, 1994. It’s a kinda sorta commentary?

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

O Say Does That Star-Spangled Banner Yet Wave; This Concludes Our Broadcast Day

JeffersonThis weekend marks the bicentennial of Francis Scott Key’s writing “The Star-Spangled Banner.”  To mark the occasion, Baltimore had a large celebration in its harbor, especially near Fort McHenry, which is where Key was being held prisoner during the Battle of Baltimore.  The history of our national anthem goes beyond that one battle of the War of 1812 and  The Washington Post has a really great article that discusses that history (“5 Myths About the National Anthem”).  I actually knew a majority of the truths the writer discusses because of a filmstrip I saw in music class when I was in the fifth or sixth grade.  Don’t ask me how I actually retained that information and not, say, trigonometry, because it’s one of the great mysteries of life.

But I didn’t want to write this short post about the history of “The Star-Spangled Banner” or discuss its significance in our everyday lives as Americans.  No, this blog is about popular culture and when I, and quite a number of people older than myself, think of the national anthem’s place in popular culture, they might think of this:

If you’re under a certain age, you may not know what the significance of the clip I just posted because you might also not be familiar with the concept of a station signing off.  In the days before hundreds of channels and all-night infomercials, local television stations and network affiliates signed off for the night, concluding their broadcast day with a pre-packaged video montage and then going to some sort of test pattern with a constant high-pitched tone:

One of the most common sign-offs was the playing of “The Star-Spangled Banner” (something so common it opens Billy Joel’s song “Sleeping With the Television On”). There were quite a number of different versions of the national anthem sign-off, but this one always stuck out to me as one of the more memorable, probably because it was one of the few I actually saw–although if I’m being truthful, it may have been used as an early morning sign-on as well.

The montage I posted was created by the New York-based firm Saxton Graphics Associates, Ltd., probably in the early 1970s (since it closes with the moon landing) but I couldn’t find much else in the way of history of the montage beyond this paragraph on the Wikipedia page for “Performances of ‘The Star-Spangled Banner'”:

Over the early years of U.S. television broadcasts it became common practice by many stations to close their broadcast day, usually late at night or early in the mornings, by airing the Star Spangled Banner accompanied by some visual image of the flag or some patriotic theme. One audio-visual arrangement in particular, entitled “National Anthem,” [5] was produced by a New York-based graphics firm, Saxton Graphic Associates, Ltd. The uncommonly complex and interesting orchestral arrangement of the Star Spangled Banner commences with a trumpet fanfare then the anthem is accompanied by images that illustrate several of the highlights of the history of the United States of America, culminating with an image from 1969 of an Apollo 11 astronaut standing on the Moon by the US flag. Several television stations aired this including WNEW-TV in New York (through 1978), and Washington DC WDVM-TV channel 9. There is no reference to whom arranged the music, nor to what orchestra performed it though numerous sites on the Internet host messages inquiring about this and where the original music might be found today.

 

I don’t have a long, drawn-out nostalgic story for this one.  It does remind me of the times when I had to stay at my grandmother’s house and we’d get to stay up late for, say, New Year’s Eve or something, and it kind of reminds me of flipping around the channels in the very early hours of the morning when I had my first job of putting Sunday papers together at a local stationery store.  But when I watch it now, it actually is a little moving.  I’ve always loved how the montage takes us through all of American history and reminds us just how much has happened in the last 200-300 years; furthermore, the bombastic arrangement of the song is enough to get even the most cold-hearted cynic (read: me) feeling at least slightly patriotic.  And it’s a memento of an earlier time in our country’s media history, a piece of ephemera that makes some wistful for an earlier time and others curious.

Pop Culture Affidavit, Episode 34 — We Had a Time!

Episode 34 CoverMy MSCL two-parter concludes with an extra-sized celebration through conversations with longtime fans of the show.  Join me, Sarah Bunting (of TWoP and Previously.tv fame), Cory, Mark, Andrea, and chelle as we talk about MSCL, its impact on our lives, our history as fans, and the show’s legacy twenty years later.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page

Pop Culture Affidavit, Episode 33 — There Was This TV Show …

Episode 33 CoverTwenty years ago, a television show premiered that, while it lasted only one season, had a clear impact on its devoted fans.  The show was My So-Called Life.  In honor of its twentieth anniversary and its place in 1994: The Most Important Year of the Nineties, here’s the first of two episodes.  In this one, I give my so-called origin story and take a look at each episode.

You can listen here:

iTunes:  Pop Culture Affidavit

Direct Download 

Pop Culture Affidavit podcast page