Five Classic TV Shows Overdue for a Remake

As with any fan of classic television, I am wary of any attempt to reboot a classic series, and I am always disappointed by the results when it happens.

Do I need to provide examples? The Bionic Woman in 2007, The Twilight Zone in 2019, Lost in Space in 2018, Charlie’s Angels in 2011, Kojak, Magnum P.I., The Odd Couple…the list is long and undistinguished. I know many people preferred the newer version of Battlestar: Galactica over the original, but I couldn’t get into either one.

Despite this pitiful track record, there are five Comfort TV shows that I believe could be successfully revived, if done right.

Just to be clear – what I want is an actual remake, not a series like Velma that tries to exploit a familiar concept and characters, while “reimagining” the material for a different era and ignoring the qualities that made the original a success. I know it can be done – I’m just not sure if there’s anyone left with the courage to try it.

Honey West

The premise of Honey West should work in any era – a smart, sassy, sexy female private eye taking on cases with a burly partner who she may or may not also be seeing after business hours.

The series was certainly ahead of its time in 1965, as a forerunner to shows featuring an independent female protagonist who can handle herself in a fight. That genre would reach its zenith 30 years later with Xena, La Femme Nikita and Buffy the Vampire Slayer.

But Honey, the stylish private investigator played by Anne Francis, got there first. At least in America. The Brits had already introduced Cathy Gale on The Avengers, who would be replaced by Diana Rigg as Emma Peel in 1965, the same year Honey West debuted on ABC.

Casting will be key here – I wish I could offer some suggestions about who would be a worthy successor to Francis, but I’m too out of touch with current pop culture.

One of the original show’s strengths was atmosphere, established through a jazzy music score and film noir vistas of Los Angeles in stark black and white. Going black and white with a new series would be a daring option but maybe Generation Alpha or whatever under 30s are called these days might find the novelty appealing.

I’d also keep it as a half-hour detective series – we’re all busier these days so establish a case, add a couple of twists and wrap it up.


Jonny Quest

The big question with Jonny Quest is whether to keep it as an animated series or try a live action version. I think animated would be the more viable option, as action scenes with an 11-year-old boy firing a machine gun at bad guys might hit differently with a real kid behind the gun.

But I want traditional hand-drawn animation, as richly detailed as what Doug Wildey brought to the original – not the computer-generated junk that was interesting when Pixar was launched but now seems cold and tired. Adding Hoyt Curtin’s jazzy theme is another must, and let’s bring back the whole gang – Hadji, Jade and Dr. Zin. We can keep Jonny’s loyal bulldog Bandit as well, only please cut back on his constant yapping.

And please also resist the temptation to make Dr. Quest and Race Bannon a couple. Leave that stuff to the fanfic crowd.


Ellery Queen

After creating one of TV’s greatest detectives in Columbo, Richard Levinson and William Link introduced Ellery Queen to television, in the genial presence of star Jim Hutton. Set in the 1940s, the series revolved around Queen assisting his police detective father (David Wayne) on baffling murder mysteries. The high point of each episode had Hutton turning to the camera and addressing the audience at home, just before he cracked the case. “Have you figured it out?” he’d ask, before reminding us of the suspects and the most important clues. Rarely has it been more fun to match wits with the characters on screen.

Ellery Queen stories have been published since the 1920s, so a new show would not be locked into any time. I would be fine if they followed the lead of Sherlock and set the stories in present day. Just don’t change the essentials – Queen is a mystery writer based in New York who assists his father on difficult cases.

I’d want the same qualities that Jim Hutton brought to the lead role: Ellery was brilliantly perceptive, without the arrogance of Holmes or the wiliness of Columbo. Could such a genial, laid-back character carry a series in 2025?


Playhouse 90

The anthology series was a staple of an earlier television era, featuring a new original movie-length drama every week. Playhouse 90 was considered one of the best if not the best entry in this genre, so let’s shoot for that high standard with a remake.

There’s no difference between TV and movies anymore, when films that debut on Netflix earn Oscar nominations. A modern-day anthology could be mounted on the same scale. But I’d rather see how well our creative community could do with the same challenges of its 1950s forbears – studio-bound productions, presented live, that rely on intelligent scripts and powerful performances over scope and spectacle. Can they produce something as memorable as “Patterns” or “Charley’s Aunt?”


The Rat Patrol

This is the only series on this list where I believe a remake has the potential to improve upon the original. The Rat Patrol had a great premise: In World War II, a four-man commando unit carried out missions to thwart the German Afrika Corps, led by General Rommel. It was a (slightly) more realistic A-Team, based on the exploits of actual combat units.

One of the best aspects of the series is personified by Eric Braeden, now a soap opera icon but back then a journeyman actor still using the name Hans Gudegast. He had the Col. Klink misfortune of always being outsmarted by his adversaries, but he brought a quiet dignity to a thankless role.

Television hasn’t given us a good World War II series since Band of Brothers, or a good action series since MacGyver (the 1985 version, not the 2016 one). I never thought the original Rat Patrol fully lived up to its potential, but an action-packed remake with a charismatic cast could be a hit – while also serving as a needed reminder of the heroism of our military when the world was at a tipping point. A boost in patriotism would be most welcome as we approach America’s 250th anniversary, and I’ll take it anywhere I can find it.

The Twilight Zone, Season Three: 3 Classics and 3 Wasted Trips

It was apparent early on that season three of the The Twilight Zone would present the toughest challenge when it came to selecting just three classic episodes. In quality, cleverness, memorable performances and intriguing stories, the series served up so many memorable outings among 37 episodes that choosing the best of the best was a daunting prospect.

Why do it? As I explained back in March I’ve been watching The Twilight Zone for as long as I’ve been watching television. But I’ve never owned the series or experienced all the episodes in order in their entirety. That’s what I’m doing now. And it’s been an interesting experience – especially in how I’ve been discovering quite a few episodes that I’ve never seen before.

I’m sure my selections won’t be the same as yours, but we’re likely to agree on at least two of the three worst.


The Three Best

To Serve Man

An obvious choice, but also an inevitable one. It’s most easily recalled now for one three-word line at the climax, but everything leading up to that epiphany is just as compelling. A story about being wary of strangers bearing gifts goes back to the Trojan War, but the payoff here is so delightfully droll that it still makes me laugh. In 1997, TV Guide ranked “To Serve Man” at #11 on its list of the 100 Greatest Episodes.

The Grave

This is by far the best of the western Twilight Zone stories, with a cast as impressive as any feature film western – Lee Marvin, Strother Martin, James Best, and Lee Van Cleef. The script was by Montgomery Pittman, who was in familiar territory having written for episodes of several 1950s westerns, including Cheyenne and Sugarfoot.

Marvin plays Conny Miller, a hired gun who arrives in a town after a man named Pinto Sykes was shot and killed. Sykes vowed that if Miller visits his grave, Sykes will rise and grab him. The rest of the episode has town folk, including Sykes’ sister, daring him to go to the cemetery. Of course he does it, or it wouldn’t be much of an episode. How does it end? See for yourself.

The Dummy

As with the first two seasons I reviewed, the scariest episode of the bunch makes the list. Cliff Robertson plays a ventriloquist driven to drink because of his belief that his dummy is alive and determined to take control of the act. The inherently creepy quality of that scenario is heightened by fevered direction and cinematography – lots of tilted camera angles and subjective cuts that force viewers to share in Robertson’s paranoia. It’s one of the series’ most compelling examples of psychological horror.

I stand by these selections even as I regret how many more shows could have make the list, beginning with “Two,” the season opener, with Charles Bronson and Elizabeth Montgomery trying to survive the aftermath of a devastating war. “The Arrival” opens with a plane landing at an airport with no one aboard. “Five Characters in Search of an Exit” is TZ at its most existential.

There were also several episodes that slightly missed the mark but were saved by outstanding performances in lead roles. “The Mirror” wasn’t that compelling but buried within a barely-there story are some wonderful dialogue flourishes in Rod Serling’s script, and an unlikely but effective performance by Peter Falk, essentially playing Fidel Castro.

The twist ending in “Four O’Clock” may not be much of a surprise, but Theodore Bikel is fantastic as a vicious man determined to punish all those he deems evil. 

And Jack Klugman (always great in this series), shines as a pool player who dreams about challenging the best in the game, even if that champion has passed away (“A Game of Pool”).

Finally, “A Changing of the Guard” is a wonderful and touching series finale about an aging English professor (Donald Pleasance) who questions whether decades of teaching poetry had any impact on his students. It’s Goodbye Mr. Chips meets It’s a Wonderful Life.

The Three Worst

The Hunt

I support the message of this episode – that Heaven wouldn’t be Heaven if dogs were not allowed to enter – but this story of a mountain man and his hound wandering through a rural afterlife is slow and boring.

The Gift

Arguably Rod Serling’s worst Twilight Zone script.

Cavender is Coming

Yet another example of how comedy rarely (if ever) worked on this series. Carol Burnett plays a clumsy chorus girl assigned to an equally inept guardian angel (Jesse White).

My Journey Through 1970s TV: Saturday Nights, 1976

Nothing lasts forever. The mighty CBS Saturday night lineup that dominated through the early 1970s had, by 1976, become vulnerable to competition. Mary, Bob and Carol were still in their accustomed timeslots but no longer ranked among the top 30 shows of the season.

Could one of the other networks make a move? ABC tried, but judging from the ratings it seemed like most people went back to going out on Saturday nights this year.

ABC
Holmes and Yoyo
Mr. T and Tina
Starsky & Hutch
Most Wanted

ABC had been on a roll this season, winning most nights, and was likely feeling confident in making an aggressive push to take over Saturdays with three new shows. Unfortunately, two of them were quickly canceled, but not before becoming punchlines.

Holmes and Yoyo starred Richard B. Shull as Holmes, a plainclothes police officer whose partners kept winding up in the hospital. So, they gave him a new partner in Yoyo, a 400-pound android (John Schuck) with several special abilities, but who also kept malfunctioning at the worst times.

This was familiar territory for Arne Sultan and Leonard Stern, who both worked on Get Smart, a series that featuring a robot named Hymie (Dick Gautier). It was silly, which isn’t a deal-breaker, but the buddy comedy vibe they wanted didn’t happen, as the two leads never developed the chemistry that would get viewers to invest in that relationship. Plus, sitcoms about police are tough – Barney Miller is the only one that worked (unless you count Police Squad, but that’s a whole other thing).

And then there was Mr. T and Tina, which did not star Mr. T. Instead, the series was developed by James Komack (The Courtship of Eddie’s Father, Welcome Back, Kotter) as a vehicle for Pat Morita, who left Happy Days to play inventor Taro Takahashi.

After a boost from Kotter’s sweathogs making a guest appearance in the pilot, the series was pulled after six episodes. Despite the brevity of its run I do recall watching at least one episode because of June Angela, who I liked on The Electric Company.

Most Wanted lasted longer than the network’s 8pm-9pm offerings – 21 episodes – but was also not picked up for another year. Which is disappointing, as this was a solid crime drama about an elite task force of the Los Angeles Police Department. Robert Stack was the captain, assisted by agents Shelley Novack and Jo Ann Harris. Most Wanted was a Quinn Martin Production, which means four labeled acts on screen, and stories that may not linger in one’s memory forever but will hold your interest while they’re on. Several episodes are on YouTube and are worth checking out.

NBC
Emergency
NBC Saturday Night Movie

Entering its sixth season, Emergency continued to present compelling stories of paramedic rescues and hospital heroics. As with Dragnet, many of the stories were based on real-life situations.

CBS
The Jeffersons
Doc
The Mary Tyler Moore Show
The Bob Newhart Show
The Carol Burnett Show

The only Saturday series to rank among the season’s top 30 shows was The Jeffersons at #24. Its ratings pattern was one of the more unusual I’ve seen: the show was #4 in its first season, dropped into the 20s for the next couple of seasons, dropped even further after that, and then returned to the top ten for seasons 6-8. I guess that can happen when a show changes time slots 15 times in 11 years.

Some viewers may have moved on, but The Mary Tyler Moore Show was still churning out memorable episodes in its final season, including “Sue Ann’s Sister,” “Mary’s Insomnia,”” Mary’s Three Husbands,” and Johnny Carson’s sort-of cameo in “Mary’s Big Party.” The series also received an actual final show, something that was still rare for TV series in the 1970s. That episode won the Emmy for Best Writing.

The Bob Newhart Show and The Carol Burnett Show would soldier on for one more season after this one, closing out one of the most memorable runs enjoyed by any network in the pre-cable era.


Shows Missed:
The Don Knotts Show (1970)
San Francisco International Airport (1970)
Nancy (1970)
The Headmaster (1970)
The Man and the City (1971)
Search (1972)
Assignment: Vienna (1972)
The Delphi Bureau (1972)
Jigsaw (1972)
The Little People (1972)
The Sixth Sense (1972)
Tenafly (1973)
Faraday & Company (1973)
Kodiak (1974)
The New Land (1974)
McCoy (1975)
Joe and Sons (1975)
Beacon Hill (1975)
Mobile One (1975)
Big Eddie (1975)
Executive Suite (1976)
Ball Four (1976)

Classic Halloween TV Movie: Are You in the House Alone?

Once again, as I’ve done almost every October, I’m pleased to feature one of the memorable made-for-TV movies from the 1970s that make perfect Halloween viewing.

From an abundant field of choices, I’ve selected one that is largely free from the traditional horror trappings – monsters (at least not the supernatural kind), gore, jump scares – but make no mistake, this is a story where the horror is all too real.

From 1978, “Are You in the House Alone?” opens in traditional scary movie fashion: It’s nighttime on a quiet street, as the camera slowly tilts toward the front door of a pleasant looking home. 

Inside, a teenage girl, Gail Osborne (Kathleen Beller), lies on the floor, her face bloodied, having just been sexually assaulted. She’s taken to the hospital but at first refuses to name her attacker.

We then flash back a few months to a carefree summer at a lake house, where Gail and her best friend Alison (Robin Mattson) prepare for a double date: Alison with long-time boyfriend Phil (Dennis Quaid), and Gail being paired for the first time with Steve (Scott Colomby). For Gail and Steve it’s high school love at first sight, much to the chagrin of Gail’s overprotective mother (Blythe Danner)

Soon after, Gail starts receiving creepy phone calls, and finding threatening notes stuffed into her school locker. 

Who is stalking her? Is it new boyfriend Steve? Her ex-boyfriend? Her vaguely creepy photography teacher? Or could it be someone else?

Of course I’m not going to tell you. But I will say that the reveal is not the end of the story.

As I wrote in previous pieces like this, what makes these movies interesting is how they manage to frighten an audience without the graphic blood and guts mayhem employed by most contemporary horror movies. Through creative filmmaking technique and effective performances, they managed to comply with broadcast standards that placed strict limits on violence and became triumphs of artistry over explicit content. Here the long, slow POV shots of the unknown stalker effectively ratchet up the tension, as Gail grows ever more terrified and suspicious of everyone around her.

Doe-eyed Kathleen Beller is well-cast here as someone’s sick obsession – so much so that for a time she became the go-to girl for young girls in danger. You could fill an entire weekend watching Beller be terrorized in TV movies like this one, “No Place to Hide” and “Deadly Messages.” And if you watched Dynasty, you know her luck didn’t improve when she was cast as Kirby, daughter of the Carrington majordomo.

I’m sure most classic TV fans recognized the other names already cited: Scott Colomby played high school students for more than ten years; Robin Mattson would soon become a soap icon as Heather Webber on General Hospital. Dennis Quaid was a year away from movie stardom in Breaking Away and The Long Riders.

 Looking back it’s amazing how many original movies debuted on television almost every night in the 1970s. They were not all great, but the ratio of hits to misses is far more favorable than what winds up in theaters these days.

One source claimed this movie was the inspiration for the “Scream” series of slasher films. I’m not sure that’s true but there are obvious narrative similarities. The difference is that Scream was a slasher film with a tongue-in-cheek self-awareness that offset its gory violence. "Are You in The House Alone" doesn’t have a body count, and viewers will realize that perhaps the more horrific part of its story happens after Gail is attacked.

"Are You in The House Alone" is available now on the MGM+ streaming service. If the phone rings while you’re watching it, don’t panic.

When is Classic TV Important?

When is a good TV show also an important one?

I began to ponder that question after reading Mitchell Hadley’s book Darkness in Primetime (reviewed here recently). The book described classic TV episodes like "The Monsters are Due on Maple Street" that warned us about future calamities, warnings that were mostly ignored. All these episodes would qualify as they communicated something profound within their stories. But there should be other criteria as well.

What makes a show “important”? I’m sure there won’t be an answer that we would all agree upon. Jean Renoir said, “The only things that are important in life are the things you remember.” But I can’t buy that because I fondly remember when Scooby-Doo met Dick Van Dyke and helped him save his financially strapped carnival. Saying that was an important moment in television would be silly. It didn’t even seem that important to Dick Van Dyke.

Another quote I found in some basic internet research – “The most important thing in life is knowing the most important things in life.” Which not only doesn’t help at all, but it also proves that anyone can say something inane and have it be considered worthy of an online meme.

As with any of these discussions, there will be some choices that are obvious, and some that should incite a lively discussion. It would be hard to find anyone who would say that Roots was not an important show. But so was Buffy the Vampire Slayer, and to the uninitiated that might seem like a ludicrous claim.

I think it’s safe to say that every important television series or episode would also have to be good, otherwise it wouldn’t leave an impression on the audience that would endure beyond its initial broadcast. But every good show can’t be considered important, given the definition of that term: “of great significance or value; likely to have a profound effect on success, survival, or well-being.”

I also think that “important” usually denotes “serious,” but we cannot rule out comedies and variety shows from consideration. I Love Lucy was certainly important; so were Your Show of Shows, The Ernie Kovacs Show, The Ed Sullivan Show, American Bandstand, The Carol Burnett Show, and many others.

Another thought – important doesn’t always mean preferable when one is in the mood for a pleasant evening of television. All in the Family is undoubtedly an important series, but I haven’t watched a full episode in 20 years. Rick Nelson and Patty Duke hooking up on The Love Boat could not be more inconsequential; but I watched it again last week and enjoyed it immensely.

I took a long look at all the television series I own on DVD, most of which I consider to be good - the rest are guilty pleasures. Which ones do I think are also “important”? Here’s the list:

I Love Lucy
The Twilight Zone
The Fugitive
Star Trek
The Monkees
Dragnet
The Mary Tyler Moore Show
Room 222
Doctor Who
Sesame Street

It’s a short list – shorter than I expected it would be. I would add a few more shows that I don’t own but that would also qualify: The Texaco Star Theater, Howdy Doody, Perry Mason, Julia, Mr. Rogers’ Neighborhood, Hill Street Blues.

But if you consider the sheer volume of television series and episodes from the late 1940s to the present, the percentage that anyone would call important is going to be minimal. And given the fleeting and disposable nature of contemporary television, I wonder if any shows from the last 15 years or so would qualify. Something really can’t be considered important if it is unfamiliar to 99% of the population.

There is one last category to cover, and that is the TV shows that are important to you, but may not have the same prestige with others. Most would agree that Lou Grant was a terrific show but might not consider it important. To me it was one of the most important series ever broadcast, because as a teenager it directly influenced the direction of my life.

If a show helped you to become a better parent, or you were inspired as a kid by Fonzie to get a library card and check out a book, if you became a doctor because of Marcus Welby or a lawyer because of Ben Matlock, if you saved for a trip to Paris after watching the Facts of Life girls travel there, or convinced your parents to pay for tapdancing lessons after watching Sharon Baird on The Mickey Mouse Club, then those were important shows. Television can have that effect on people – or at least it once did, once upon a time.

My Journey Through 1970s TV: Friday Nights, 1976

I've been rough (though not without reason) on NBC during these reviews of network prime time schedules in 1976, so let’s give some credit where it’s due: on Friday night if you were home, you were probably spending at least part of your evening with the Peacock. Some of those props may be by default since ABC and CBS both opted for movies on this evening, but three of NBC’s four scheduled series were hits then and are fondly remembered now.

ABC
Donny & Marie
ABC Friday Night Movie

It seemed like a hit at the time, but the variety show starring Donny and Marie Osmond never ranked higher than #27 during its three seasons. This was the first foray into prime time for Sid & Marty Krofft, after years of unleashing bizarre but delightful Saturday morning shows to confound the children of the ‘70s.

Looking back, it’s even more impressive for an hour of prime-time real estate to be turned over to an 18-year-old Donny and his 16-year-old sister, obviously making them the youngest entertainers in history to host their own series. But they carried it well on shear talent, with able support from the Osmond family, a cluster of ice skaters and appearances from pretty much anyone who was anyone in the 1970s, from Evel Knievel and Andy Gibb to Farrah Fawcett and Kristy McNichol.

The Kroffts would go on to create one more successful variety series featuring Barbara Mandrell and the Mandrell sisters but missed with shows built around the Brady Bunch and Pink Lady & Jeff. Yes, I own both of those shows on DVD. Don’t judge me.


NBC
Sanford and Son
Chico & The Man
The Rockford Files
Serpico

In its final season Sanford and Son still drew more viewers than any other Friday series. Chico & The Man was a natural sitcom pairing with Sanford, and while The Rockford Files still ranked outside the top 40 shows, it was already winning Emmy Awards and providing an ideal showcase for James Garner, one of television’s most charismatic leading men. 

Serpico was one of many attempts this decade to adapt a hit film into a successful television series. It rarely worked, and it didn’t in this case either – only 15 episodes were shot before it was canceled. Al Pacino played NYPD detective Frank Serpico in the film, but viewers of the series got David Birney instead.

This was one of many short-lived police shows shown on TV Land, so I’ve seen it but didn’t care for it. Birney’s a fine actor but this was not a role suited to his talents, no matter now they tried to toughen him up with facial hair and a grimy complexion. The whole thing came off like a dinner theater version of the genuine article.


CBS
Spencer’s Pilots
CBS Friday Night Movie

It won’t be long before CBS would dominate Friday nights with hits like Dallas and The Dukes of Hazzard. That winning streak would not begin with Spencer’s Pilots, a pleasant time-killer of an adventure series about a small charter plane outfit in California.

The cast is comprised of familiar character actors that veteran classic TV fans will know by name, and everyone else will recognize as “that guy from…” There’s Gene Evans (the guy from all those old TV westerns!), Christopher Stone (from Bionic Woman!), Todd Susman (from Newhart!) and Britt Leach (from the Partridge Family Christmas episode!). Not a bad show, but no match for Donny and Marie and Sanford and Son.

Shows Missed:
The Don Knotts Show (1970)
San Francisco International Airport (1970)
Nancy (1970)
The Headmaster (1970)
The Man and the City (1971)
Search (1972)
Assignment: Vienna (1972)
The Delphi Bureau (1972)
Jigsaw (1972)
The Little People (1972)
The Sixth Sense (1972)
Tenafly (1973)
Faraday & Company (1973)
Kodiak (1974)
The New Land (1974)
McCoy (1975)
Joe and Sons (1975)
Beacon Hill (1975)
Mobile One (1975)
Big Eddie (1975)
Executive Suite (1976)
Ball Four (1976)

New Book Shines a Light on the “Darkness In Primetime”

It's likely that if you are even a semi-regular reader of Comfort TV you also follow Mitchell Hadley’s blog, “It’s About TV.” We’re both still at it after more than a decade, while so many other blogs once listed at the Classic TV Blog Association have gradually fallen away (where have you gone, Michael’s TV Tray?).

Mitchell’s new book, Darkness in Primetime, is an expanded and more in-depth treatment of some of the shows covered in his blog under the title “Descent into Hell.” It adds several more examples of shows that tried to warn us where our culture is headed, too easily dismissed at the time as nothing more than an hour or so of provocative entertainment.

We really should have listened. 

But then, who could really have guessed where we were headed back then? You wouldn’t think a 1963 episode of The Outer Limits (“The Architects of Fear”) could have foretold how the US would react to the COVID pandemic nearly 60 years later. But the wisdom conveyed in that story had clearly been long forgotten.

From shows both popular (Star Trek, The Twilight Zone) and obscure (Kraft Television Theatre, Mobil Showcase), Mitchell has uncovered insight into the dangerous encroachment of relativism in truth and morality, the inherent bias in media, and what happens when authorities in politics and science play God without any of the necessary qualifications.

Indeed, many of these shows that would fall generally into the science fiction genre may have been viewed as paranoid fantasies when first broadcast. Some of the critics back then certainly thought so (as always, Mitchell brings the receipts for his arguments). But is anyone laughing now about concerns over near sentient computers and artificial intelligence?

Each chapter in Darkness in Primetime had me wondering if some of those errant paths could have been avoided. But an episode like “The Invasion of Kevin Ireland,” about a man whose life is destroyed by a corporate research firm, shows how there is still work to be done.

That episode of The Bold Ones: The Lawyers aired in 1971. In 2025 how casually do we enter personal information into online forms, or share details about our lives on social media, with no thought to how that data in the wrong hands could be weaponized? Another lesson ignored.

The experience of reading this book prompted much regretful head-shaking over our collective societal shortcomings, it also brought renewed appreciation for the writers, directors and performers of these outstanding programs. I’m now looking forward to watching many of them again, and seeking out those I’ve missed.

You can order Darkness in Primetime here