M*A*S*H (1975) – Welcome to Korea Part 1, Part 2, and Change of Command

Season four opened with a two-part premiere that aired on 12 September, 1975. Written by series developer Larry Gelbart as well as James Fritzell and Everett Greenbaum. To deal with Trapper’s (Wayne Rogers) abrupt departure from the series, as well as Blake’s (McLean Stevenson) leaving for home, the episode had to reintroduce the series (again)…

Mission: Impossible (1967) – The Widow, and Trek

Season two of Mission: Impossible launched on 10 September, 1967, with The Widow written by Barney Slater. Viewers knew right away that something had changed, Dan Briggs (Steven Hill) was replaced without explanation by Peter Graves, taking command of the IMF team as Jim Phelps, and Martin Landau finds himself in the opening credits, right…

Red Beard (1965) – Akira Kurosawa

Red Beard is the next recommendation from the What Else to Watch list in DK Canada’s The Movie Book, following my screening of Rashomon. This film marks the last collaboration between Kurosawa, and iconic Japanese actor, Toshiro Mifune. Over a sprawling, and engaging three hours, Kurosawa explores humanism and existentialism through this adaption of a…

Doctor Who (Peter Capaldi) – The Zygon Inversion, and Sleep No More

Peter Harness and Steven Moffat pen the conclusion to the story begun last week in The Zygon Invasion, airing on 7 November, 2015, the episode left the Doctor (Capaldi) in a precarious predicament, the Zygon replacement of Clara (Jenna Coleman) had just launched a rocket at the President of Earth’s (the Doctor) plane – with…

The Twilight Zone (1963) – Mute, and Death Ship

Paramount Pictures’ The Twilight Zone: The Complete Series continues to delight, terrify, creep out, and amaze and this week is no different as I dig into the next two episodes of the fourth season. Up first is Mute, written by Richard Matheson. This episode first aired on 31 January, 1963. It follows the tale of…

The Stepford Wives (2004) – Frank Oz

  Sigh. You’d think that a film boasting the likes of Frank Oz behind the camera, and Nicole Kidman, Christopher Walken, Bette Midler, Jon Lovitz, Glenn Close and Matthew Broderick in front would constitute a better film. But you can tell just by the casting that the film is slipping away from the dark conformist…