TGAH: Here’s Looking at You, Kid

Here's Looking at You, Kid

Originally aired: April 1, 1981

Oh no, this was no April Fool’s joke. A military plane with a top secret gun sight is stolen in broad day light and the government is scrambling to find it and get it back before it ends up in enemy hands. But FBI Agent Bill Maxwell knows how to find it. All he needs is Ralph and the suit.

Except Ralph isn’t so willing to drop everything to go after some military hardware that, big deal, “can hit a beer can from five miles out.” After all, he’s got other plans. Pam’s parents are coming in for a visit, he’s supposed to meet Pam to pick them up at the airport, they’re going to dinner… We’re on the third episode of the show and this suit is damn inconvenient, Bill…

Convinced of the severity of the situation, Ralph goes with Bill. He calls Pam from Bill’s car phone (which after more than 35 years, it’s interesting that mobile reception hasn’t much improved since then) and then spends a couple of hours bouncing around the dessert looking for the plane. Bill’s hunch is the plane was brought down in the sand, as opposed to being dumped in the ocean. He turns out to be right, he and Ralph find the plane but the gun sight has long since been removed.

What was left behind, however, was the pilot’s helmet. Ralph gets a halograph image from it of the man that stole the plane and gun sight (although he doesn’t know necessarily it’s him) and the “soldiers of fortune” type operation this guy is part of.

Before they leave the dessert, Bill has an idea that Ralph –with the suit- can do telekinesis “moving things around with the old grey cells.” It would be a useful skill if Ralph can harness it and he wants Ralph to try it. Ralph’s a little hesitant. “Every time you have me do something new with the suit, I get into more trouble.”

That hardly phases Bill. He has Ralph try to stop him from physically approaching and push him back. Only Ralph pushes the wrong something and ends up disappearing.

 Ralph freaks out, of course, and can’t figure out how to reverse what he’s done. He and Bill head back to town, with Ralph whining the whole way about having to face the rest of his life being invisible. Bill, meanwhile, is trying very hard to find positives in the situation and not let Ralph get too discouraged. Despite his cheer leading efforts, he catches the attention of a motorcycle cop, who thinks the Fed is talking to himself.

Bill saves himself pretty smoothly this time, telling the cop that he has to give a speech a Whitney High for Government Day and that he was practicing.

Bill and Ralph continue on to the private vet’s club where McCready and his soldiers of fortune hang out. Bill’s scenario is simple. Since Ralph is invisible, he can just go in, take a poke around and find out what’s going on and where the gun sight is. Easy! Accept….now Ralph becomes visible again.

It doesn’t last long, however, and Ralph fades back out again. Not knowing how to control the visibility power of the suit, Ralph doesn’t chance going inside the house but manages to get a halograph of what’s going on. Bill fakes tinkering around under the hood of his car while Ralph tunes in on what’s going down. He learns that the gun sight is going to be auctioned off, at the consulate, later that night.

 While Bill and Ralph have been investigating all this international intrigue, Pam’s parents are visiting from Minnesota (Deer Lick Falls, Minnesota to be exact where Pam’s father is the mayor but having nothing to do with “The Mayor’s Committee from Deer Lick Falls” which was a Rockford Files episode. Let’s not confuse the issue). Ralph made reservations at a nice restaurant to take Pam and her folks for dinner. Which would be all well and good except he’s still invisible with the suit.

With this pending date, Ralph leaves Bill at the vet’s club and takes off to try to figure out how to get out of his predicament, but promises he’ll meet Bill at the consulate later that night. Ralph doesn’t have any better luck at the restaurant trying to explain things to Pam. He becomes visible again in the suit and, as luck would have it there’s no back door to sneak out of. Ralph has to run the gauntlet through a dining room full of people – including Pam’s parents.

At the very least, they don’t recognize him but poor Pam certainly suffers through enough in this episode.

Back at the consulate, Bill is setting up with his “Willy the Wrench” bit, popping the hood of his car. While tinkering with the radiator cap (which should have been REALLY HOT if the car had been running for anything length of time) Bill talks on his communicator with Ralph to see where he’s at.

And where’s Ralph? He’s on a bus! And at a time when he would love to be invisible, he’s not. The other riders on the bus think he’s a freak and all cower at the front of the bus.

Bill, meantime, gets caught by the bad guys and taken inside.

When Ralph arrives at the consulate, he figures out how to work the invisibility feature of the suit. He finds Bill’s abandoned car and gets a halograph, seeing Bill is being held captive. Remaining invisible, Ralph walks through the front gate of the consulate and heads inside.

He finds Bill, knocks out the man guarding Bill and Bill commandeers the man’s rifle. “Bill, you’re not going to use that gun are you?” Ralph asks. “Of course not,” Bill says, “I’m gonna pick my teeth with it…”

With Ralph invisible and in control of it, Bill figures for him to just go right in where they having the auction and take the gunsight. (I like where Culp looks directly at the camera, where us as the audience are the POV of Ralph for a moment).

 Ralph gets the gunsight and, naturally, pandemonium breaks out as all the bidders freak out when the gunsight magically floats through the air and out of the room. Ralph meets back with Bill again – just in time for his invisible cloak to click off. He and Bill make a run for it and Ralph flies himself and Bill out of the consulate, crashing landing on the ground outside the wall. The flight footage of the two is from the pilot, as Bill magically goes from a three piece suit to khaki’s and green aviator jacket then back to suit again upon landing.

When all is said and done, Bill shows up at the school a day or so later to let Ralph know that McCready and all had been caught and to thank him for his help. Ralph, of course, immediately thinks Bill is there for another scenario and carries on about how he’s taking Pam and her parents to lunch and that’s final. Kid, you are wound way too tight.

In fact, I think Ralph was wound so tight he made himself disappear again. And I’m not even sure if he had the suit on…

The fact that The Greatest American Hero lasted three seasons (never mind beyond three episodes) is truly a testament to the show itself. The show had great performers and good writing but had everything else against it. The lawsuit from WB for the supposed Superman similarities notwithstanding, ABC wasn’t exactly any help for a show that they originally asked for. The finest example of knee-jerk reaction from the network is evident in this episode, where Ralph’s last name is changed from Hinkley to…well, to nothing. All mentions of the last name are not so cleverly edited out (ie, Pam’s mom saying “Ralph (insert loud jet engine noise)” when Pam picks up her folks at the airport). Good thing the students referred to him as Mr. H often anyway, which saved at least some work for the sound editor.

Why was Ralph’s name “bleeped” out? Because two days before this episode aired, on March 30, 1981, President Ronald Reagan was nearly assassinated in front of the Hilton Hotel in Washington DC by John W. Hinckley Jr.

Can you imagine if his name had been John W. Maxwell Jr.?

The assassination attempt was upsetting enough, since Reagan had only been in office less than 70 days. When John Hinckley’s motive for shooting the President was revealed (in short, he was a deranged fan of Jody Foster and was trying to get her attention, having been inspired by the movie Taxi Driver) television and film entertainment thought twice about anything they had going on around that time that would be deemed inappropriate in the light of the events. NBC pushed back an episode of Walking Tall called “Hit Man.” Yet, ABC was left shaking simply over a name, that wasn’t even spelled the same way.

Commentator Paul Harvey thought it was absurd, writing in his syndicated column, “Because probably the sick boy accused of trying to kill the president was named John Hinckley Jr., these professional sin, sex and murder merchants self-righteously reverted to the scapegoat concept of blaming, crucifying and burying somebody else.

Harvey hoped programmers at the network would reconsider. It was largely reported in the press that in the remaining episodes of the Greatest American Hero‘s first season Ralph would have no last name at all, he would just be “Mr. H” and would have a new name the following season. However, by the last episode of season one (“The Best Desk Scenario”) Ralph would be christened “Hanley.”

When season two opened in the fall of 1981 with “Two-Hundred Mile Per Hour Fastball” Ralph would be reborn as Hinkley making the whole name change, really, a moot point.

Noted guest stars included…

Bob Hastings (McHale’s Navy, Green Acres) as Pam’s father and June Lockhart (Lassie, Lost in Space, Petticoat Junction) as Pam’s mom. Hastings would return in future episodes playing a sportscaster both times (“It’s All Downhill from Here,” “The Price is Right.”)

 

 

 

James Whitmore Jr. as the cool and steely McCready. He would return to be the not so cool Biron “the BB” Bigsby, IRS auditor in “There’s Just No Accounting” in season two, and as the nerdy creator of a Dungeons and Dragons knockoff in “Wizards and Warlocks” in season 3.

Red West as one of McCready’s security guards. Besides acting, West also is a songwriter and was part of Elvis Presley’s inner circle known as the “Memphis Mafia” as a body guard for the King.   West would also return in two more episodes of TGAH.

Despite the name haggling, The Greatest American Hero was enjoying a pretty strong run at this point, ranking around 13th in the ratings.

The Greatest American Hero – Season One is available at Amazon.com, either as a download or you can purchase the DVD set.  You can also download the episode itself through Amazon for about the price of a cup of coffee!

      

#ColumboTV Winning Tweets and Honorable Mentions

Columbo: Double Exposure

Believe me folks, it wasn’t easy to pick a winner from each #ColumboTV viewing event. There were hundreds of tweets and a lot of folks are pretty good at dropping good one liners at 140 characters or less.

But here they are! The wining tweets (and honorable mentions) for each event.

Saturday – 8/17

Winner: @nealmaidment So Robert Culp do you come here often to sexily sit in the pumpkin display?

Columbo: Double Exposure

Honorable: @patrickdijusto It’s so obvious that the culprit was Dr. Mustard-Jacket, in the lobby, with the pistol.

Columbo: Double Exposure

Sunday – 8/18

Winner: @GregMcCambley Is it murder, or is is Memorex?

Columbo: Double Exposure

Honorable: @HollHox You know I did it, I know I did it, I know you know I did it, let’s call the whole thing off.

Columbo: Double Exposure

Congrats to the winners and mentions! Winners will each receive a unique Culp/Columbo prize. (I don’t want to spoil anything so I’ll reveal what the prizes were once the winners have receive them. Yes, really!).

Again, thanks to all who participated and made both events a lot of fun!

The #ColumboTV Double Header Event Recap

Columbo: Double Exposure

The “Double Your Pleasure, Double Your Fun, Double Exposure” #ColumboTV events this past weekend (August 17th and 18th) on Twitter I think was a resounding success! Stats are still being sorted out, but my estimates approximately 18 folks took part in the Saturday event with another 12 folks on Sunday. The Saturday event saw a few die hard Columbo fans in the UK staying up (or getting up) at midnight to watch and tweet and the hashtag #ColumboTV trended briefly catching the attention of a couple of trend watch-bots on Twitter. There were hundreds of tweets during both events and I’m still – STILL! – sorting through to pick the best tweet from each and award prizes. I’ll notify winners via DM on Twitter. If you took part in either event make sure you follow me so I can contact you!

And a thanks to all who participated! A great cap on the weekend for what would have been Robert Culp’s 83rd birthday.

Shameless Plug for Robert Culp and #ColumboTV

Double Your Pleasure, Double Your Fun, Double Exposure

*Cue “Double Vision” by Foreigner*

Fill my eyes, with that double vision…of not one, but TWO #ColumboTV events on Twitter!

The first on Saturday, August 17th, 2013 at 7pm EDT, 12am BST and 9am AEST. The second on Sunday, August 18th, 2013 at 2pm EDT, 7pm BST and 4am AEST.

As Lord Dastardly Deano would say, “for those of you with an inferior education” BST is British Summer Time or simply UK time! AEST is Australian Eastern Standard Time (for our Aussie friends in places like Sydney and Melbourne.)

Why two events, you ask? Am I crazy, you wonder? Are you kidding, Robert Culp twice, in honor of his birthday, which would be August 16th? Absolutely!

Actually, I know a #ColumboTV event typically takes place around 5pm EDT, but I just can’t swing that hour. So, since I can do earlier, or later, and knowing Columbo fans span the globe my hope is the two slots will work well for turnout.

As an extra bonus, there will be a selection of Best Tweet from both events with a prize for each!

So mark your calendars August 17th and 18th and join me on Twitter (@ConsummateCulp) for #ColumboTV and Robert Culp! And for those of you not familiar with how #ColumboTV works, click here to get the scoop!

Columbo: Double Exposure

He Bears Witness to His Beliefs

From TV Guide, January 15, 1966

Robert Culp’s character is revealed by his behavior on ‘I Spy’ and off.

BY DICK HOBSON

“Some of these white cats they say, ‘Hey, man, dig this, dig that, dig the other thing.’ When they talk like that they think they’re saying: ‘See? I’m with you. I’m sympathetic to the Negro cause.’ But I just say, ‘Man, you talk that way at home?’ I’d rather have a cat that shuts up and does it than a cat with the words. That’s what I like about Bob Culp. He’s a cat that does it. I got confidence in the man.”

The speaker is Negro comedian Godfrey Cambridge, all got up in white flannels and navy-blue double –breasted yachting jacket, as he paces the deck of a luxurious yacht on Stage 6 at Desilu-Cahuenga Studio in Hollywood. He awaits the nod of Robert Culp, who is directing his first I Spy episode, “Court of the Lion.”

“A Negro’s always got to be the Good Guy on TV these times,” Cambridge says. “I am tired of being loved. Now this king of the Zulus is the first villain I’ve been allowed to play on TV. I’m doing a black Goldfinger. Bob Culp had the guts to put me in this part. So many other people in this town would say, ‘Let’s not have an argument, let’s make the Zulu an Indian.’ But Culp says, ‘Let’s do it right.’ That’s what I like about Culp.”

Sagebrush Victorian would describe the style of Robert Culp’s dressing room: leather upholstery, bar with a foot rail, roll-top desk—a hark back to his days as Texas Ranger Hoby Gilman on Trackdown. Prominently hung in an oval gilt frame is a photo of Sammy Davis Jr. gripping Culp in a vigorous bear hug. The door is flung open and the minor whirlwind that is Bob Culp whips across the room, deflating into a chair, sandals flying. “First question,” he says, in the manger of a director saying, “Action.” The man is lean, athletic, brown of hair, hazel of eye, and looks rather professorial behind his horn-rim glasses.

It’s true, he had to shell out $2000 to get into the Directors Guild in order to direct this episode, for which his director’s pay is $3500. He concedes he laid out $2500 for an artist to story-board the entire script. “Rarely can a man successfully act and direct at the same time. One has to suffer and it will always be the acting.” That conviction is what motivated Culp to hire acting coach Jeff Corey to stand by and observe his performance.

“At first I found only nitwits in this business,” Culp is saying. “I became childishly hostile. I got the image ‘troublesome.’ But I got wiser. I set about to rectify my ways.”

One of those to whom he was “childishly hostile” was Vincent Fennelly, producer of Trackdown, the series Culp starred in back in 1957. Fennelly claimed Culp walked more like a Method actor than a Texas Ranger, and for a year they didn’t speak to each other. “Yeah, he thought I walked funny,” Culp says, “I invented my own kind of slouch-stroll. Fennelly’s an accountant. He wanted the same old Western hero. But he was right; I was wrong. In Omaha they couldn’t care a rat’s nose.”

*****

A thick blue pall clouds the dressing of Bill Cosby, first Negro to co-star in a network dramatic series. Cosby is stretched over an easy chair, puffing on a 9-inch cigar, sprawled under a framed photo of the co-stars dressed in tennis garb.

“I could be just a nothing. I could be crumpled and crushed if Bobby had turned out to be the kind of guy who wants everything for himself,” Cosby says. “But we made contact. We tuned each other in. Now Bobby knows me better than anybody. We’re closer than brothers.” Godfrey Cambridge sidles into the room and pours himself some coffee, picking up the drift of the conversation. Cosby continues: “We don’t have any race jokes in the scripts. Even in real life, race jokes would be embarrassing to Bobby and embarrassing to me.”

But what about Sammy Davis Jr. and the Clan? They’re integrated and they make ethnic-type jokes. “The old-timers like Sinatra do it. But the Clan has guilts and complexes. They’ve always got to talk about race. It’s very corny, unhip. We’re beyond that.

“You know how the Clan has to have a Leader and all that? No King of the Road with us. Bobby and I are equal. Another thing, we’re closer to the people. The Clan could play golf on Forest Lawn, they’ve got so much money.”

*****

Out in Woodland Hills in San Fernando Valley waits Culp’s wife, the former Nancy Wilner (or former Nancy Asch, actress-theatrically speaking), described by a close friend as “nutty, droll, and bright.” “I hate being called a ‘former’ somebody. Just say I’m the current Mrs. Culp. There was a previous Mrs. Culp, you know—Bob’s college drama coach. She was 24; he was 19. I think she was another mother to him. Shall we tour the homestead?” It’s a big, old frame house with an oversize cupola, a decidedly eccentric house among all those new-moderns in suburbia.

“This is the playroom. This is Jason’s room. This is Joshua’s room. This is Joseph’s room. This is Rachel’s room.” All but one of the offspring are pre-schoolers. One room has a jungle tree-house in one corner and bunks suspended from the ceiling on chains. “Bob did it.” Another is fitted like a ship’s cabin with bunks, ladder, and real portholes. “Bob built it. This is our kitchen. Bob laid the floor.

“We first met at an off-Broadway theater. Off-stage he was very shy, insecure, ill-at-ease. But on-stage he could do the most fantastic things. We did the Greenwhich Village scene together, the Brando thing, the motorcycles, the whole bit.”

On a peg hangs a black cowboy hat. “Gary Cooper’s. Bob wore it in a Gunsmoke.” The oversize cupola on the third floor turns out to be Culp’s study. “We call it the Lion’s Den.” Up here Culp has a 360-degree view of his two-acre wooded domain. Here is his typewriter.

“Bob’s first script was a Trackdown. He thought all the stories were adolescent drivel. So he just wanted to do one that would be his own way. But Trackdown was an unhappy period for us. It was agony for Bob to go to the studio each day. He was hanging on for dear life. I didn’t know from one day to the next whether he would come home or not. Sometimes he didn’t.”

*****

After Trackdown, Culp loudly let it be known he wanted no more of series. “Bob had a reputation as being quite tumultuous,” agent Jimmy McHugh says of him. “He’s one of those actors who has a deeply rooted desire to say something in his work. But Hollywood is not that kind of town.” Culp says: “Jimmy helped me change. He set out to make a comedy image for me and he did a beautiful job.” In two years Culp made four feature pictures, including “Sunday in New York.”

Any discussion of I Spy invariably returns to the Culp-Cosby relationship. Mark Rydell, who has directed three I Spy episodes this season, says: “Bob could easily overpower Cos simply by exercising his talent. But Bob is always helping Cos and guiding him in a way that I find quite moving.”

“Half of my energy is spent trying to translate their private communications,” says Paul Wendkos, director of eight of this year’s I Spys. “Culp and Cosby have put-ons on top of put-ons. They’re ‘hippies,’ to use one of Bob’s favorite words. They always take the off-beat way. But underneath their hip, existentialist veneer is the sense of irony just this side of bitterness- the irony of the artist in show business, the irony of racial inequality.”

“Bob is incensed by prejudice,” says Culp’s friend, director Sam Peckinpah. “He doesn’t recognize it; he doesn’t understand it. Yet he’s not trying to carry any particular banner.” Wendkos adds: “Bob’s attitude is, ‘I don’t have to crusade. I’m it.’”

According to I Spy co-producer Mort Fine: “There is a wide audience acceptance of the camaraderie between Culp and Cosby, the white man and the Negro. People want to do the right thing, white to Negro. I think it’s vicarious. They want to watch it in action.”

“Yeah,” says Godfrey Cambridge sardonically, “watching I Spy on the tube provides a relationship with a Negro with no risk.”

As for Bob Culp, he says only, “If Cos and I have any kind of mission on this show, it’s something we’ve never had to discuss.”