Waltons 8.1: “The Home Front, Part 1”

Airdate: 9/20/79

We return to the Waltons for their 8^th season to find Olivia’s returning home, and discovering many changes that have transpired in her absence. Jason is a non-com drill sergeant at Camp Rockfish, and having a tough time playing the heavy. Erin is busting her hump at Platt’s mess kit/canteen plant, but her request to be assistant manager is rebuffed because she’s a woman. Cindy is paranoid that everyone expects her to be pregnant, partially because she’s a bit fearful about the prospect herself. Aimee Godsey returns from finishing school as expected: proper, refined, and hot for Jim Bob – all to the chagrin of Elizabeth. But John has the most to deal with – as head of the draft board, he signed up young Tommy Satterfield, and coaxed him into returning to base when he went AWOL. When he dies, Tommy’s parents blame John. At the end of this episode, Tommy’s father, Calvin, shows up at the Waltons’ front door and threatens to take the life of a Walton son in exchange for his own. Grandma was smartest of all… she’s away on vacation!

The Waltons’ penultimate season premiere does what most of their double

length episodes do: feature a plot line for nearly every family member, in this case, all relating to the war effort. John’s story carries he most weight, and is used for the cliffhanger at the end of the show. Not sure why, but Parts 1 and 2 are featured separately on the DVD, though, according to the inside notes, they were originally broadcast as one two hour episode. In any case, it's much easier to digest in two installments, but the Waltons was used to those super-sized two-hour offerings, especially for season premieres.

Aimee Godsey is still played by Rachel Longaker here, albeit looking more adolescent, and Mary Ellen is quite marginalized, playing simply the cheerleader for Erin’s cause. A good season opener, strengthened by Olivia’s return – she sticks around for the next ten episodes.

Wonder Woman 1.10: Judgment from Outer Space, Part 2

Airdate: 1/17/77

Andros is taken back to Berlin by the Nazis, further validating the aliens’ claim that humans are barbaric and must soon be destroyed. His identity is met with incredulity by his steely captors, who mainly want his knowledge of atomic energy, pulling out all the stops (including enlisting the persuasive services of a sexy seductress) in order to get it. When WW attempts a rescue, she become annoyed when Andros wishes to stay; he claims that he must observe all sides of humanity, and that the Nazi “evil” can be found in American war tactics as well. Steve, as an incognito Nazi, tries to save Andros as well, and Andros’ supervisors see the good in certain humans enough to restore  his powers, enabling them to escape and return to the states. Andros informs WW that he swayed the council vote and saved earth from destruction, but that he’ll be back in 50 years (1992!!) for another judgment. He invites WW to come with him to his idyllic home planet; she refuses, ruefully explaining that she’s needed here, to fight evil and do a little humanity-saving herself.

Conclusion of this ambitious installment is more action-filled but just as message-laden as part one. No big surprise at the end (we’re obviously all still here), but there are just enough somber notes to keep this from being too “pie-in-the-sky.” (This is, after all, was the 70s, and America was still recovering from is post Vietnam/Watergate ennui). Great effects, sci-fi set design and eerie score round out this, the best episode of Wonder Woman thus far.

Cheers 3.8: “Diane Meets Mom”

Airdate: 11/22/84

Diane finally gets to meet Frasier’s mom, Hester Crane, and she’s a nervous wreck worrying about trying to impress her prospective mother-in-law, who’s also an esteemed psychologist. Dinner goes well, until the three repair to the bar, where Hester threatens Diane’s life unless she stops seeing her son. Completely shaken, she asks Sam’s consel, who advises that perhaps it’s a joke she’s just not getting. Diane’s return volley goes badly: a tone-deaf assault that horrifies a puzzled Frasier, who understandably wants to get to the bottom of it. Caught in the middle between a she said/she said quandry, he sides with Diane, resulting in Hester’s confession and her reason being it: that she didn’t want her son to marry a “pseudo-intellectual barmaid.” Everything gets patched up, ostensibly, until Hester asks Sam what it would take for him to see Diane again. “You don’t have enough money,” he informs her. “There isn’t enough money.”

Hilarious Diane/Frasier driven comedy of neuroses firmly establishes Kelsey Grammar as a solid cast member. As Diane’s intellectual equal, he can match her wits and reveal sides to her we haven’t seen with her sparring with Sam. Frasier himself has frailties also, particularly when he must side either with “the woman who gave (him) life” or “the woman who gives (him) life.” Finely crafted, delivered dialogue makes the subplot, involving Norm’s birthday and a champagne cork injury, pale in comparison.

Cold open: Clueless Coach can’t figure out what a repairman who comes to Cheers was called on to repair – not even when his inquiry is stymied by a dead phone!

Norm’s opener: First: Coach: “What would you say to a beer, Normie?” Norm: “Going down?”

Second (After Norm returns from the hospital): Coach: “What’s up, Norm?” Norm: “Everything that’s supposed to be!”

Waltons 7.22: “Founders’ Day”

Airdate: 3/22/79

Jason is set to graduate from the Kleinberg Conservatory, but he needs to write a composition that his stuffy teacher, Professor Bowen, will like. After hours of frustration, he vows it would be better to be original than obsequious; his “Appalachian Portrait” is a work of flowing beauty and majesty, but will it get a A? Only until he performs it at the first annual Founders’ Day celebration on Waltons Mountain, and Bowen makes a last-minute appearance, does he find out that his master is pleased.

Subplot involves the aforementioned Founders Day: originally intended as a way of celebrating everyone’s pioneer forbears, it quickly devolves into a snippy contest of “who got here first” bragging rights. Only John stands up as the voice of reason and reprimands everyone for being so catty.

A fine way to close the 7^th season. Jason’s graduation means he will enlist in the army (at least that’s what he promised earlier in the season). And a special extended version of Earl Hamner’s traditional closing narration celebrates the history and legacy of the close circle of family and friends on Waltons Mountain – it could possibly be the best one to date.

Waltons 7.21: “The Tailspin”

Airdate: 3/15/79

When Jim-Bob is run in for running a red light, he fails the vision test when he renews his license, meaning he will not pass the requirements for joining the Air Corps – his lifelong dream. Dejected, he drops out of school (which he was not doing well in anyway, despite being tutored by Corabeth in English) and threatens to enlist in the army. John refuses to sign for him (necessary since Jim Bob is underage) until he starts acting up and mouthing off,

at which time he lets Jim Bob decide his on fate. Only after helping Corabeth change a tire, and she explains to him the necessity of comprising one’s dreams, does he reconsider his rash decision. Subplot: Mary Ellen rebuffs the romantic interests of a young serviceman who knew her husband, instead steering them toward a disinterested Erin. Only after realizing she is entitled to a social life again does she accept a date with the soldier – and stays out past the family goodnights!

We learn from this show that Jim Bob does not fly – instead, due to his vision impairment, he will build planes using his mechanical expertise. Subplot also shifts gears for Mary Ellen, who puts away the apron and decides it’s okay to step out again. And clever use of metaphor in the title!