Wiseguy: An Innovative TV Crime Drama

If you love shows like Breaking Bad, The Wire, or The Sopranos, you owe a debt of thanks to a lesser-known series from the late 1980s that showcased serialized storytelling before it was the norm on television. That show is Wiseguy, a bold, ahead-of-its-time crime drama that helped shape the future of television storytelling. Premiering in 1987 on CBS, Wiseguy challenged viewers by breaking the mold for episodic television. Instead of wrapping up its stories in self-contained 45-minute tales every week, Wiseguy featured long-form story arcs that unfolded over multiple episodes.

Wiseguy told the story of Vincent “Vinnie” Terranova (Ken Wahl), an undercover agent for the fictional Organized Crime Bureau. After serving 18 months in prison to establish his cover, Vinnie is assigned to infiltrate various criminal enterprises while reporting to his gruff but loyal handler Frank McPike, portrayed by Jonathan Banks, whose chemistry with Wahl is one of the highlights of the show. Banks, who later played Mike Ehrmantraut on Breaking Bad, steals as many scenes in Wiseguy as he would on that later series. 

The series was created by Stephen J. Cannell and Frank Lupo. At the time, Cannell was best-known for action-heavy fare like The A-Team, and several networks turned down Wiseguy before CBS a=took a gamble on the series. What sets Wiseguy apart isn’t just the undercover drama or the mob intrigue; it’s the emotional and psychological toll that comes with living a lie. Vinnie isn’t some slick, invincible hero. His missions are complicated not only by the inherent dangers of deep cover work, but also by his own moral struggles and the personal  trauma he suffers by living a double life. For example, Vinnie can't tell his mother about his undercover status, so she thinks he's a real criminal, and has shut him out of her life. Wahl does an excellent job in the series, conveying Vinnie's internal conflicts and emotional turmoil.

Ken Wahl in Wiseguy

The show’s first major storyline, the “Steelgrave Arc,” is still considered one of its finest. Over nine episodes, Vinnie embeds himself into the Atlantic City mafia and becomes close to Sonny Steelgrave, a volatile but charismatic mob boss masterfully portrayed by Ray Sharkey. What makes the story so compelling is that a real emotional bond forms between Vinnie and Sonny. The undercover operative begins to genuinely care about the man he’s supposed to bring down. It’s a relationship built on lies, loyalty, and looming betrayal. It all leads to a devastating, unforgettable conclusion.

In today’s television landscape, complex relationships like that are the norm. But back in 1987, that kind of emotional storytelling, spread across multiple episodes with real consequences, was revolutionary. The series would continue to offer long form multi-episode arcs across its four-season run, featuring actors like Kevin Spacey, Jerry Lewis, Tim Curry, Ron Silver and Deborah Harry. Rounding out the supporting cast, Jim Byrnes portrayed Lifeguard, Vinnie's OCB contact, Gerald Anthony played Vinnie's brother Pete, a Catholic priest, and Elsa Raven appeared as Vinnie's mother, Carlotta.

Though the series was eventually derailed by cast changes, behind the scenes drama, and network meddling, its influence lingers. Shows like The X-Files and NYPD Blue later blended procedural formats with ongoing character development, but Wiseguy was doing it years before it became the industry standard. It was a gritty, ambitious series that re-imagined what serialized storytelling could look like on network TV. If you’re a fan of deeply layered crime dramas, it’s worth going back to see where it all began. Wiseguy is currently streaming on Peacock.

Can Redford & Company Heist "The Hot Rock"?

When you think of classic Robert Redford movies, your mind probably jumps to iconic films like Butch Cassidy and The Sundance Kid, The Sting, The Way We Were, All the President’s Men and The Natural. Redford also made some enjoyable movies that are likely just a little bit off your radar, such as the 1992 thriller Sneakers, co-starring Sidney Poitier. Another underrated film in Redford's oeuvre is the entertaining heist flick The Hot Rock (1972) directed by Peter Yates, (of Bullitt fame) and based on a novel by celebrated crime writer Donald E. Westlake. I re-visited the movie after Redford's recent passing, and it's an enjoyable, diverting movie that's worth checking out.

Redford plays John Dortmunder, a just-out-of-prison thief reluctantly pulled back into the game by his brother-in-law Andy for what appears to be a relatively low-risk, high-yield caper. The successful theft of a priceless diamond from a New York museum promises to deliver Dortmunder and his team a pretty decent payday. Of course, things quickly spiral out of control, and the museum heist is followed in short order by a prison break, an attack on a police station, and a clandestine visit to a bank, all in pursuit of the elusive diamond.

Robert Redford & George Segal

Each attempt to acquire the diamond features clever (and increasingly absurd ) schemes conceived by Dortmunder, all of which spiral comically and chaotically out of control. Can Dortmunder and his motley crew of thieves find an idea that works, and finally steal the diamond? The Hot Rock is a breezy, witty caper film that showcases several 1970s New York locations via the excellent cinematography by Donald R. Brown, which is complemented by the jazzy score composed by the one and only Quincy Jones. The screenplay was written by William Goldman, who also penned the scripts for Butch Cassidy and The Sundance Kid and Marathon Man.

Redford is quietly effective as Dortmunder, subtly portraying the character's growing frustration with his failed plans, and his crew's inability to obtain the diamond. The film's stellar supporting cast, includes George Segal, Ron Liebman, Paul Sand and Zero Mostel, all do excellent work playing comic foils to Redford's low-key, but increasingly exasperated, straight man and master thief. The film has kind of an offbeat, deadpan sense of humor, and showcases a New York City that largely doesn't exist anymore via the excellent location shooting. The Hot Rock isn't trying to be a high-stakes thriller or a slapstick comedy, but it finds a solid groove somewhere in between, offering a charming Redford performance and an endearing rogue's gallery of supporting characters in an entertaining caper film.

Here's a look at the trailer for the film: https://www.youtube.com/watch?v=48APEydOt64. Fun fact: George C. Scott played a thinly disguised version of Dortmunder, with the character renamed to Walter Upjohn Ballantine, in 1974's Bank Shot, directed by Gower Champion, which was also based on a Donald E. Westlake novel, the second in the "Dortmunder" series.

"Alien: Earth" The Real Monsters Are Us

In an era where franchise fatigue has become a real problem for fans, with endless re-iterations of popular films and television series, Alien: Earth, the latest chapter in the saga which began with director Ridley Scott's 1979 classic, has arrived to shake things up in the Alien universe. The new series, now airing on FX, was created by writer-director Noah Hawley, who was the driving force behind the television version of Fargo and the offbeat X-Men spinoff, Legion. Alien: Earth is set two years before the events of the first film.  Governments have been abolished, and five multi-national corporations run the world.

One of those corporations is Prodigy, run by a young genius known as Boy Kavalier, whose company is experimenting on transferring the consciousness of a human being into a synthetic body. Kavalier and his team of scientists have taken the minds of a group of children and implanted them into artificial bodies, called hybrids. He's named these hybrids after characters from J.M. Barrie's novel Peter Pan. Meanwhile, a spaceship from the Weyland-Yutani corporation (a name long-time fans of the Alien series will recognize) is returning to Earth with several types of alien specimens, including a very familiar xenomorph. When the ship crashes into a building owned by Prodigy, a race begins to obtain and do research on (as well as exploit) these valuable specimens.

Unlike previous entries in the saga, Alien: Earth takes place not on faraway planets or the cold steel corridors of spaceships, but right here on our own planet. The alien menace is just as dangerous as ever, but this fascinating series focuses on another dangerous predator as well: mankind. Noah Hawley and his writers have cleverly united the science-fiction concepts from the world of Alien with another Ridley Scott directed film set in a dystopian future: Blade Runner. There are several kinds of cybernetic beings featured in Alien: Earth, all of whom are questioning what they are (just like the replicants in Scott's 1982 movie) and if they are really human, as well as what that word means. 

Alien: Earth does a great job examining the ethical and scientific experiments (and obvious greed) of the insidious Weyland-Yutani and Prodigy corporations, while exploring new ideas in the Alien universe. The series builds its own mythology, while cleverly acknowledging what has come before. One episode, a flashback centered tale relating how the Weyland-Yutani ship crashed, is a chilling homage to the original film. There are also callbacks and nods to other films in the series, which will delight long-time fans. While those Easter eggs are fun, this is a truly original story that is set in an existing world, taking the Alien saga in exciting new directions.

The cast is excellent, with standout performances from Sydney Chandler as Wendy, the lead hybrid, Timothy Olyphant as the android Kirsh, and Babou Ceesay as Morrow, the security officer from the crashed spaceship. Visually, the series delivers a blend of grounded futurism and biological surrealism. Practical effects and CG are expertly combined by the talented crew, and the series is atmospheric and well-directed. What makes Alien Earth so compelling is how it reinvents rather than reboots, bringing the alien terror to our home planet, and showing us that the most frightening monster of all just might be humanity itself.

Here's a look at the trailer for Alien: Earth: https://www.youtube.com/watch?v=ZbsiKjVAV28, now airing on FX and streaming on Hulu.

Play On: A Fabulous Raspberries Tribute

The Raspberries are one of the most beloved bands in the power pop genre. The group has a dedicated group of fans, including artists like Bruce Springsteen, Ringo Starr, Paul Stanley, and Rick Nielsen. If the band had only recorded the classic 1972 hit “Go All The Way,” their place in the rock and roll firmament would be assured, but the group had several other hits, including “Let’s Pretend,”  “I Wanna Be With You,” and one of my personal favorites, the epic "Overnight Sensation (Hit Record)." Their quartet of original albums are considered power pop classics. The original Raspberries lineup featured the late Eric Carmen on vocals, guitar, bass, and piano, Dave Smalley on guitar and bass guitars, bass) Wally Bryson on guitar and Jim Bonfanti on drums. 

The band’s legacy is being celebrated on Play On: A Raspberries Tribute, a super-sized two-disc tribute album which will be released on September 12th. This comprehensive record features 37 tracks from an all-star roster of musicians ranging from power pop royalty like Rick Springfield, Debbi and Vicki Peterson of The Bangles, and Marshall Crenshaw, to up and coming artists such as The Lemon Twigs, Olivia Rubini and Bird Streets. The amazing lineup of performers also includes fan favorites such as John Waite, Kasim Sulton, Darian Sahanaja and The Hudson Brothers. There are also appearances from Wally Bryson’s son, Jesse, who delivers a heartfelt version of “Might as Well,” original drummer Jim Bonfanti, who plays on four songs on the disc, and Eric Carmen, who provides the count in on Lou Gramm’s rendition of “Tonight.”

You’ll find many of the band’s classics here, including Rick Springfield’s fabulous version of “Go All The Way,” The Spongetones excellent Beatles style run through of “It Seemed So Easy,” and album co-producer Ken Sharp’s spirited remake of “I’m A Rocker.” This stellar collection is filled with musical gems from across the Raspberries catalog, ranging from all out rockers like Eric Dover’s dynamic cover of “Ecstasy,” ex-Runaway Cherie Currie’s kick out the jams take on “Hands On You” and Brasko’s kinetic “Making It Easy.” Chris Price infuses “Nobody Knows” with Motown vibes, while The Caulfields amp up the pop/rock energy on “Goin’ Nowhere.” There’s also a strong focus on the band’s wonderful ballads, including Karla DeVito’s lovely version of “I Can Remember” and Katie Ferrara’s deeply emotional reading of “Come Around and See Me.”

Play On: A Raspberries Tribute is a cross-generational rock and roll love letter to The Raspberries and the enduring power of their music. Ken Sharp (author and longtime Raspberries devotee) and Fernando Perdomo (producer and multi-instrumentalist) did excellent work curating this amazing record. Covering a band whose music is as melodic and emotionally rich as that of the Raspberries is no easy task, but all of the artists here have done a superb job. They manage to highlight the strengths of the original songs while allowing their own personality to shine through on their renditions of these unforgettable tunes. Play On: A Raspberries Tribute will be released on September 12 on Think Like A Key records. Here’s a link to a sampler of the music on this fabulous record: https://www.youtube.com/watch?v=K2KUH3d_ZIc. 

Early Elton's Epic Show at The FTC

Early Elton at Fairfield Theatre Company

Early Elton Trio, the phenomenal band that pays tribute to the music Elton John performed on his 1970-72 tours with Nigel Olsson and Dee Murray, once again graced the stage at the Fairfield Theatre Company Friday night. The band played for over two hours, and the show was nothing short of epic. The group, featuring Jeff Kazee on piano and vocals, John Conte on bass and vocals, and Rich Pagano on drums and vocals, provided the audience with superb renditions of a number of Elton John and Bernie Taupin's classic compositions, including "Rocket Man" "Take Me To The Pilot," and "Border Song."

The set list for The Incredible Mixed Show also included terrific versions of "Where To Now, St. Peter?" "Mona Lisas and Mad Hatters," and "Friends." The band rocked out on "Elderberry Wine," "Ballad of a Well Known Gun," and "Grey Seal," which, although released on 1973's Goodbye Yellow Brick Road was originally recorded for 1970's Elton John. The band did sneak in one later tune, performing a beautiful version of "We All Fall In Love Sometimes," the penultimate track from 1975's Captain Fantastic and the Brown Dirt Cowboy.

It's obvious from their extraordinary performances and undeniable chemistry that these supremely talented musicians enjoy playing together. The trio takes turns on lead vocals, and they're clearly passionate about these classic songs, as evidenced by John Conte's joyous take on "Country Comfort," Rich Pagano's emotional version of "Levon" and Jeff Kazee's superb rendering of "Indian Sunset." The band's excellent arrangements of these amazing songs also help to make their shows memorable. This evening was no exception, climaxing with a towering rendition of the live version of "Burn Down The Mission" from 11-17-70, and audience sing-alongs on "Tiny Dancer" and "Your Song."

I’ve been attending performances by Early Elton for a while now, and this group never fails to knock my socks off with their magnificent live shows. Their shows are always unforgettable, whether they're filled with the hits, the B-sides, or the deep cuts. These guys rock, and if you're a fan of Elton's music from 1970-72, you should definitely check them out. For more information, head over to the band's website at http://www.earlyeltontrio.com, or visit their Facebook page.

Superheroes! In Color! Silver Age Style!

For a long time now, superheroes have largely (thought not exclusively) been featured in darker themed adventures on the big-screen, including Christopher Nolan's Batman trilogy, Zack Snyder's Man of Steel and Batman v. Superman: dawn of Justice. Even Marvel Universe movies such as Captain America: Civil War, Avengers: Endgame and Doctor Strange In The Multiverse of Madness haven't been immune to including gloomy elements in their stories. Some of these films are well-made and beloved by fans, while others, like Josh Trank's disastrous 2015 version of Fantastic Four, have been lambasted by critics, and crashed at the box office.

This summer, it feels like we've returned to the days of Richard Donner's Superman and Sam Raimi's Spider-Man. New film versions of both DC's Superman and Marvel's The Fantastic Four have been released, and the brightly colored days of the Silver Age of comics have leapt off the page and into movie theaters. The Silver Age of comics ran roughly between the later 1950s to 1970, and featured pop art colors, fun and exciting stories, and resolute heroes who battled nefarious villains. Director James Gunn's Superman, the first in a new series of films about DC Comics superheroes, leans heavily into the positive hues of those Silver Age tales, as well as the sense of adventure and hopeful tone showcased in Donner's 1978 original movie.

We start right off in the middle of the story, with a Superman who's been wounded in battle. He calls out to his faithful dog Krypto (who's been a mainstay of the comics since the mid-1950s) who brings our caped hero back to the Fortress of Solitude for some patching up. After that, we're launched into a story that features all of the mainstays of the Superman mythos: Lois Lane, Jimmy Olsen, The Daily Planet, and of course, the villianous Lex Luthor, who's given something of a 21st century makeover here, but one that stays true to the character's roots. There are also some other DC characters featured in the film, including Green Lantern and Hawkgirl, and the movie features some impressive action sequences.

For all of the excellent special effects and nods to classic Superman stories, what makes this film work is the terrific writing and strong direction by James Gunn, as well as the superb performances from the cast, including Rachel Brosnahan as Lois, David Corenswet as Clark Kent/Superman, and Nicholas Hoult as Luthor. The story stays true to the spirit of these characters, and the look and design of the film really captures the essence of the comics. The film actually feels like it's a classic comic book come to life. No spoilers here, but if you're a fan, you really need to check out James Gunn's splendid take on The Man of Steel.

As for The Fantastic Four, Marvel's first family of heroes also gets a big-screen relaunch this summer, in a new cinematic adventure directed by Matt Shakman, who helmed the well-received TV series WandaVision. Fantastic Four: First Steps is a fabulous tale that throws us right into the world of Marvel's original super-team. We get a quick recap of the FF's origin and early adventures on a TV special seen within the film, which is hosted by Ted Gilbert, played by Mark Gatiss. The film is set on Earth 828, which is a separate world from the others in the Marvel Cinematic Universe. This allows Shakman and his writers to tell a standalone tale on a planet where the Fantastic Four are their world's only superheroes, and its beloved protectors. They even have their own animated TV show!

Fantastic Four: First Steps makes a bold choice in adapting one of original comics creators Stan Lee and Jack Kirby's most well-known tales, the story of Galactus, a world-devouring alien, who has chosen Earth 828 as his next meal.  Our heroic foursome, Mr. Fantastic, The Invisible Woman, The Thing and The Human Torch are the only ones who stand between Galactus and Earth's destruction. But there's a twist here (partial spoiler ahead): Galactus will spare the planet if Mr. Fantastic and The Invisible Woman hand over their newborn son Franklin to him. Can The Fantastic Four defeat Galactus, save the world, and protect Franklin? Which side will The Silver Surfer, Galactus' powerful herald, who has conflicted feelings about her role in these events, be on when things come to a head?

This film is an old-fashioned science-fiction adventure that hews closely to Lee and Kirby's original FF stories. The story is set in the 1960's, and the movie has a very cool, retro-futuristic look. The cast is outstanding: Pedro Pascal as Reed Richards/Mr. Fantastic, Vaness Kirby as Sue Storm/The Invisible woman, Ebon Moss-Bacharach as Ben Grimm/The Thing, and Joseph Quinn as Johnny Storm/The Human Torch all capture the essence of their four-color counterparts, and Julia Garner is quite good as Shalla Ball, The Silver Surfer. Fantastic Four: First Steps is a worthy addition to the Marvel Cinematic Universe, and should please longtime fans of the super-powered foursome, as well as newcomers to their adventures.

The reason that Superman and Fantastic Four: First Steps work so well is that the creators, cast and crew of these films honor the legacy of these beloved characters by celebrating their positive attributes, while also telling their stories in an up to date manner. Also, both of these movies are a lot of fun. There's nothing wrong with dark styled versions of superheroes, but it's nice to highlight the brighter hues of our iconic heroes once in a while. Here's a look at the trailers for Superman: https://www.youtube.com/watch?v=Ox8ZLF6cGM0 and Fantastic Four: First Steps : https://www.youtube.com/watch?v=18QQWa5MEcs. Both films are currently in theaters.

Marc Platt Revisits "3163 Coolidge Avenue"

Here at Eclectic Avenue, I've often written about and praised the excellent work of California based singer-songwriter Marc Platt. His latest record, 3163 Coolidge Avenue, is yet another exceptional release by this talented artist. The album is a truly powerful collection of songs reflecting on his younger days with his family, growing up at the title address in Mar Vista, while also taking a look at what's happened in his life, and his world, since then. It's a very personal record from a wonderful artist.

The opening track, "Never Stare at the Sun," is a tribute to Marc's Mom, who tried to give him some good advice regarding life, while "Me and My Brothers and Dad' is a heartfelt song about how he and his family dealt with losing her when he was young. Other standout selections include the mournful "Never Made A Difference" and "Angry Heart," as well as the thoughtful "Only God Can Say." The songs on 3163 Coolidge Avenue are poignant, deeply emotional and often contemplative in tone, and these superbly crafted compositions still offer a note of hope, despite their often heart-rending subject matter.

The disc also includes songs like the lovely "Be A Better Man," which celebrates how a positive relationship can inspire you, and "One of These Days," which looks at a romantic union that stands the test of time. Platt also provides listeners with a pair of covers on the album, offering up superlative versions of the Howard Jones hit "What Is Love?" and The Psychedelic Furs classic "The Ghost In You." As usual, his vocals and instrumental work are top-notch throughout the record. His music is imbued with the classic vibes of 1960s/1970s rock and pop, yet also sounds fresh and contemporary. You can't help but be moved by his splendid performances and these terrific songs.

Marc Platt's 3163 Coolidge Avenue is now available at over at bandcamp by following this link: https://marcplatt.bandcamp.com/album/3163-coolidge-avenue. Please note that all proceeds from the album will help benefit the care of Marc's brother Ben, who is struggling with Alzheimer's disease. Here's a link to the video for the title track: https://www.youtube.com/watch?v=ygSqXjuJPRc.