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'Police Woman'
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<blockquote data-quote="Snarky Oracle!" data-source="post: 81541" data-attributes="member: 57984"><p>Probably the best episode from the last half of Season 3 -- and <em><strong>not </strong></em>because of anything they let Pepper do -- '<strong>Solitaire' </strong>is tightly directed by the show's line producer, Douglas Benton. Opening quite believably in New York, a cop is killed in a liquor store hold-up, and his partner (Eugene Roche) follows those killers to Los Angeles. But while transferring the captured gunmen, a bomb explodes in the L.A. airport, and Pepper's squad has the additional task of tracking down the bomber, and recollaring the killers. They rough up a local radio guy (Corey Allen) for his anonymous tapes from the bomber, and they use those tapes to locate the culprit: an elderly man angry that the airport is expanding by buying up surrounding neighborhoods via imminent domain and forcing out the poor. Pepper is left to interrogate the bomber about where his last explosion, ready to blow, has been set, as the guys run off based on a report that the NYC gunman has been sighted at the airport once again.</p><p></p><p><img src="https://i.ytimg.com/vi/htJcbF4Gx48/hqdefault.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 702px" /></p><p></p><p>To get a sense of the contrast between early Pepper and current Pepper, and how they've squelched Angie Dickinson, compare her lame interrogation scene here in S3's "Solitaire" to the one she has at the end of S1's excellent "Flowers of Evil" (about the trio of killer lesbians). That clearly, unequivocally, shows you the problem. {EDIT: not having viewed this scene in years as it's usually cut for time in syndication, and seeing it now on DVD, I realize now it's nowhere near as lousy as I'd always remembered it}.</p><p></p><p>Pepper arrives at the airport just in time to get a horrible close up, yell "<em>listen to him </em>-- <em>there is a</em> <strong><em>bomb</em></strong><em><strong>!</strong>" </em>and follow the show's standard pattern of having her glean an investigative clue or lead only if, once she relays it to Crowley, he's already figured it out in her absence and is three steps ahead of her.</p><p></p><p>The NYC cop allows himself to be blown up while he has his partner's killer cornered by the airport lockers, and the cop's wife (Diana Muldaur), who's been calling from New York for days, thinks she knows why her husband is dead: he was diagnosed with cancer recently, with only a few short months to live, and at that time New York cops and their surviving family couldn't collect a pension if he dies off duty and before retirement.</p><p></p><p>The call from The Big Apple widow now over, Angie, to her credit, hesitates in the middle of her sudsily clichéd line to Crowley about feeling like she's a better person for having briefly known the dead cop; it's a false and maudlin quip, the actress realizes it, and almost pulls it off as a result. The Catholic duo go out to light a candle for Roche.</p><p></p><p>Solid episode which nevertheless continues the belittling of its star.</p><p></p><p>Excellent original score by Morton Stevens.</p><p></p><p><img src="http://i17.photobucket.com/albums/b78/Marky888/6f7e0b25-57d8-4101-b63b-e49cfb5ac9c3_zps87j6pxqn.png" alt="" class="fr-fic fr-dii fr-draggable " style="width: 758px" /></p><p></p><p>----------</p><p></p><p><strong>Bondage</strong>. Adequate story about a murdered young woman, found by Pepper and Crowley while out riding horses, whose remains are identified as those of a kinky porno actress. The cops determine she was not the victim of a snuff film beating (her S&M studio apparently have a lousy special effects department) so Pepper naturally volunteers her services as the dead girl's de facto replacement to figure out what happened to her --- while preparing to appear in a roman orgy, Angie Dickinson is permitted to toss a chair thru a window before she has to perform sexually, and runs thru the woods at dusk in only high heels and a silky, shorty, see-thru negligée. Just like real cops do.</p><p></p><p><img src="http://media.gettyimages.com/photos/bondage-episode-21-pictured-angie-dickinson-as-sgt-suzanne-pepper-picture-id138359270" alt="" class="fr-fic fr-dii fr-draggable " style="" /><img src="https://i.pinimg.com/originals/ce/29/36/ce29364c62aa2597d3ff7b57a08099d6.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 761px" /></p><p></p><p>------</p><p></p><p><strong>Silky Chamberlin. </strong>Con men relieve Bill Crowley's gullible uncle of his life savings, so Crowley and Pepper set up a sting in this tongue-in-cheek episode -- the one which got Cheryl Ladd cast on CHARLIE'S ANGELS within 24 hours of Aaron Spelling viewing this POLICE WOMAN installment right after Farrah Fawcett announced she was leaving ANGELS after only one year.</p><p></p><p><img src="http://3.bp.blogspot.com/-hKSgDLsXclg/TfyFSWm0SyI/AAAAAAAAAgc/kTNTpQmcEpc/s320/Cheryl+Ladd.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 438px" /></p><p></p><p>Written by producer Douglas Benton and story editor Ed de Blasio, and directed by top-notch Barry Shear, this episode has <em>spin</em>-<em>off wannabe </em>all over it. But the casting of Ladd's male partner is boringly typical of hetero male executives' judgment, and so, much like "Task Force" a year earlier (and TONI'S BOYS three years later) it didn't stand a chance of being picked up. Leaving Aaron Spelling to pick out James Darren and Miss Ladd and add them to his shlock caravan.</p><p></p><p>----------</p><p></p><p><strong>Deadline Death. </strong>A redundant title (I would have simply called it "Deadline"), a teenaged boy (Ike Eisenmann) goes after the killers who blew up his father, a reporter, with a car bomb. Crowley and Pepper take the boy in, despite his being ordered to a child care institution ("You'd never believe what goes on in those places," Crowley bemoans to Pepper) and the duo wind up suspended for that and for driving their own squad car into a ravine while chasing an arsonist.</p><p></p><p>Pernell Roberts pops up in one of those slimy, vaguely Hitlerian roles he took on after leaving BONANZA. The boy's final scene places his face between Angie's glowing bosoms. And she should be allowed to shoot the bad guy in the end, but she's denied it by the bosses.</p><p></p><p>------------</p><p></p><p>And so much for Season 3.</p><p></p><p><img src="https://i.pinimg.com/736x/97/19/37/971937ba10cbc9a05582bf784686f195.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="width: 626px" /></p></blockquote><p></p>
[QUOTE="Snarky Oracle!, post: 81541, member: 57984"] Probably the best episode from the last half of Season 3 -- and [I][B]not [/B][/I]because of anything they let Pepper do -- '[B]Solitaire' [/B]is tightly directed by the show's line producer, Douglas Benton. Opening quite believably in New York, a cop is killed in a liquor store hold-up, and his partner (Eugene Roche) follows those killers to Los Angeles. But while transferring the captured gunmen, a bomb explodes in the L.A. airport, and Pepper's squad has the additional task of tracking down the bomber, and recollaring the killers. They rough up a local radio guy (Corey Allen) for his anonymous tapes from the bomber, and they use those tapes to locate the culprit: an elderly man angry that the airport is expanding by buying up surrounding neighborhoods via imminent domain and forcing out the poor. Pepper is left to interrogate the bomber about where his last explosion, ready to blow, has been set, as the guys run off based on a report that the NYC gunman has been sighted at the airport once again. [IMG width="702px"]https://i.ytimg.com/vi/htJcbF4Gx48/hqdefault.jpg[/IMG] To get a sense of the contrast between early Pepper and current Pepper, and how they've squelched Angie Dickinson, compare her lame interrogation scene here in S3's "Solitaire" to the one she has at the end of S1's excellent "Flowers of Evil" (about the trio of killer lesbians). That clearly, unequivocally, shows you the problem. {EDIT: not having viewed this scene in years as it's usually cut for time in syndication, and seeing it now on DVD, I realize now it's nowhere near as lousy as I'd always remembered it}. Pepper arrives at the airport just in time to get a horrible close up, yell "[I]listen to him [/I]-- [I]there is a[/I] [B][I]bomb[/I][/B][I][B]![/B]" [/I]and follow the show's standard pattern of having her glean an investigative clue or lead only if, once she relays it to Crowley, he's already figured it out in her absence and is three steps ahead of her. The NYC cop allows himself to be blown up while he has his partner's killer cornered by the airport lockers, and the cop's wife (Diana Muldaur), who's been calling from New York for days, thinks she knows why her husband is dead: he was diagnosed with cancer recently, with only a few short months to live, and at that time New York cops and their surviving family couldn't collect a pension if he dies off duty and before retirement. The call from The Big Apple widow now over, Angie, to her credit, hesitates in the middle of her sudsily clichéd line to Crowley about feeling like she's a better person for having briefly known the dead cop; it's a false and maudlin quip, the actress realizes it, and almost pulls it off as a result. The Catholic duo go out to light a candle for Roche. Solid episode which nevertheless continues the belittling of its star. Excellent original score by Morton Stevens. [IMG width="758px"]http://i17.photobucket.com/albums/b78/Marky888/6f7e0b25-57d8-4101-b63b-e49cfb5ac9c3_zps87j6pxqn.png[/IMG] ---------- [B]Bondage[/B]. Adequate story about a murdered young woman, found by Pepper and Crowley while out riding horses, whose remains are identified as those of a kinky porno actress. The cops determine she was not the victim of a snuff film beating (her S&M studio apparently have a lousy special effects department) so Pepper naturally volunteers her services as the dead girl's de facto replacement to figure out what happened to her --- while preparing to appear in a roman orgy, Angie Dickinson is permitted to toss a chair thru a window before she has to perform sexually, and runs thru the woods at dusk in only high heels and a silky, shorty, see-thru negligée. Just like real cops do. [IMG]http://media.gettyimages.com/photos/bondage-episode-21-pictured-angie-dickinson-as-sgt-suzanne-pepper-picture-id138359270[/IMG][IMG width="761px"]https://i.pinimg.com/originals/ce/29/36/ce29364c62aa2597d3ff7b57a08099d6.jpg[/IMG] ------ [B]Silky Chamberlin. [/B]Con men relieve Bill Crowley's gullible uncle of his life savings, so Crowley and Pepper set up a sting in this tongue-in-cheek episode -- the one which got Cheryl Ladd cast on CHARLIE'S ANGELS within 24 hours of Aaron Spelling viewing this POLICE WOMAN installment right after Farrah Fawcett announced she was leaving ANGELS after only one year. [IMG width="438px"]http://3.bp.blogspot.com/-hKSgDLsXclg/TfyFSWm0SyI/AAAAAAAAAgc/kTNTpQmcEpc/s320/Cheryl+Ladd.jpg[/IMG] Written by producer Douglas Benton and story editor Ed de Blasio, and directed by top-notch Barry Shear, this episode has [I]spin[/I]-[I]off wannabe [/I]all over it. But the casting of Ladd's male partner is boringly typical of hetero male executives' judgment, and so, much like "Task Force" a year earlier (and TONI'S BOYS three years later) it didn't stand a chance of being picked up. Leaving Aaron Spelling to pick out James Darren and Miss Ladd and add them to his shlock caravan. ---------- [B]Deadline Death. [/B]A redundant title (I would have simply called it "Deadline"), a teenaged boy (Ike Eisenmann) goes after the killers who blew up his father, a reporter, with a car bomb. Crowley and Pepper take the boy in, despite his being ordered to a child care institution ("You'd never believe what goes on in those places," Crowley bemoans to Pepper) and the duo wind up suspended for that and for driving their own squad car into a ravine while chasing an arsonist. Pernell Roberts pops up in one of those slimy, vaguely Hitlerian roles he took on after leaving BONANZA. The boy's final scene places his face between Angie's glowing bosoms. And she should be allowed to shoot the bad guy in the end, but she's denied it by the bosses. ------------ And so much for Season 3. [IMG width="626px"]https://i.pinimg.com/736x/97/19/37/971937ba10cbc9a05582bf784686f195.jpg[/IMG] [/QUOTE]
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'Police Woman'
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