Cranky Lesbian

Look what the homosexuals have done to me!

Obsessed: Shannen Doherty’s Fatal Attraction

Shannen Doherty channels Isabelle Adjani in Obsessed.

The early ’90s were a cinematic golden age of gorgeous obsessives scheming seaside in trash, glorious trash, and while Obsessed (1992), Shannen Doherty’s entry in that sweepstakes, was made for ABC, it has the lurid spirit of a Cinemax special. Your hopes will soar from its opening scenes, when her Lorie Brindel, a marine surveyor in her early-to-mid twenties, is dispatched to appraise a yacht for insurance purposes and arrives in her finest miniskirt, appallingly baby-voiced and flirtatious with a silver-haired client, Ed Bledsoe (William Devane).

“I’ve seen a lot of boats but not many this old, in this kind of shape, Mr. Bledsoe,” she coos, impressed by the majesty of his vessel. You’re forgiven for anticipating the strains of “bom-chicka-wawa” on the soundtrack, and that’s before she admiringly runs her hand along his yacht’s woodwork as he grins like a Cheshire cat. They show some propriety by arranging a dinner date, and their first tryst — a very ’90s ordeal with excessive closeups of limbs entangled in white sheets (and Lorie reverently kissing Ed’s saggy chest) — is scored with the same saxophone music that accompanied all sex in TV movies during the Clinton administration.

Deadly Whispers: Tony Danza’s Odd Turn as a Murderous Father

Tony Danza and Pamela Reed in Deadly Whispers.

Imagine Tony Danza in a frilly dress and sun hat, clutching a parasol and drawling “Fiddle-dee-dee! Ashley Wilkes told me he likes to see a girl with a healthy appetite!” and you’ll have some idea of the absurdity of his casting in Deadly Whispers (1995). The extent to which he mangles an exaggerated Southern accent is hard to overstate; when he says “Yo missin’ The Waltons” (rather than “You’re missing”) only 10 minutes into the movie, you might laugh harder than you ever did at Who’s the Boss?

Unfortunately for Danza, Deadly Whispers isn’t supposed to be funny. In this thinly veiled dramatization of the 1987 murder of Kathy Bonney, he plays Virginia salvage yard owner Tom Acton, the last person to see his troubled teenage daughter Kathy (Heather Tom) alive before she disappears. A high school dropout who answers the phones at Tom’s business — he doesn’t need the help but refuses to let her out of his sight — she defiantly teases her hair and bares her midriff in pursuit of a married coworker.

The Seduction of Gina: Valerie Bertinelli Gambles

Valerie Bertinelli accessorizes in The Seduction of Gina.

From California Split to Croupier and Uncut Gems, women are often afterthoughts in movies about gambling. Jeanne Moreau’s compulsive gambler in Bay of Angels (1963) is a notable exception, a deadbeat mom whose desperation is evident in her haunted eyes and peroxide-blonde hair. “The first time I walked into a casino, I felt like I was in church,” she recalls in that film, a romanticization not quite echoed by Valerie Bertinelli’s Gina Breslin* in The Seduction of Gina (1984).

Gina’s gambling is less about spiritual communion than emotional immaturity and marital ennui. “I feel like I’m single except I can’t date,” she moans to best friend Mary (Dinah Manoff) as they loll around the college campus where she studies art. It’s a problem of her own making. Husband David (Fredric Lehne), a young physician, warned against tagging along for his intern year, worried she’d feel lonely and isolated. She insisted on cohabitation anyway but struggles during his overnight shifts, resorting first to restless late-night baking and then baccarat to keep busy.

An Afterschool Special Asks, What If I’m Gay?

Richard Joseph Paul and Evan Handler in What If I’m Gay?

There comes a moment in What If I’m Gay?, a 1987 CBS Schoolbreak Special, when our teen jock protagonist — the one with gay pornography stashed in his bedroom, its walls adorned with posters of muscled male physiques as if he were Josh Hawley — questions how people know they’re gay. “How can anyone be sure?” he asks Allen (Evan Handler of Sex and the City), a dweeby heterosexual friend who is not yet romantically interested in girls.

For some of us, all it takes is renting the right Gina Gershon film at the age of 14 for those puzzle pieces to fall into place. Others tread more winding paths, like the curious Todd (Richard Joseph Paul) himself, a soccer team captain whose girlfriend has recently started to wonder, after a year of dating, why they never spend time alone. Surely he has some idea, between his choice of reading material and previous (offscreen) sexual encounters with a friend, but acknowledging it’s a struggle.

A Magical Christmas Village: Marlo Thomas Practices Witchcraft

Marlo Thomas and Alison Sweeney in A Magical Christmas Facelift Village.

There’s a mother-daughter horror movie tucked within A Magical Christmas Village (2022), cloaked by spruce and tinsel. But until Hallmark develops a line of greeting cards and snow globes commemorating intergenerational trauma, it must remain suppressed. In its absence we’re left with another holiday romance between a hardworking single parent and a peripatetic professional, one that again culminates, as is often the case, in a public display of affection cheered by townspeople that seem to voyeuristically assemble specifically for that purpose. (That Brian De Palma hasn’t directed a Hallmark film is one of the great tragedies of his career.)

The players here are Summer Ashby (Alison Sweeney), a small-town architect, and civil engineer Ryan Scott (Luke Macfarlane of A Shoe Addict’s Christmas), whose job takes him around the country. She’s remodeling a city-owned building when he arrives in search of storage space for toy drive donations. It’s an odd request (who wants stuffed animals covered in sawdust?) until you realize her general contractor’s duties primarily consist of moving Christmas trees and adjusting speakers that play seasonal music. Their awkward introduction gives way to instant attraction and the usual ritualized Hallmark bonding over shared values.

A Mother’s Justice: Meredith Baxter Goes Charles Bronson

Meredith Baxter and G.W. Bailey in A Mother’s Justice.

There are worse tales of maternal vigilantism than Meredith Baxter’s A Mother’s Justice: John Schlesinger’s notorious Eye for an Eye, starring Sally Field, springs immediately to mind. But don’t take that as an endorsement of Baxter’s film, which premiered on NBC in 1991 and found a second home on Lifetime. It’s still quite bad, just not as grotesque as Field’s revenge fantasy. The closest it comes is a misguided scene at an Italian restaurant that brings new meaning to the slogan “When you’re here, you’re family.”

Justice, directed by Noel Nosseck (No One Would Tell), opens suspensefully, with a predator prowling the streets. His abduction of Debbie (Carrie Hamilton), a 23-year-old aspiring nurse, is more graphic than her subsequent rape, which she immediately reports to police. Det. Bogardus (Blu Mankuma) assures her it wasn’t her fault and awkwardly tells her “I know I’m the same color as the man who attacked you, but I just want you to know, we get ’em in all colors. Like I said, don’t worry. If he goes on, we’ll get him.”

Faye Dunaway Crashes A Family Thanksgiving

Faye Dunaway stuffs a turkey with dermal fillers in Hallmark’s A Family Thanksgiving.

There are those who will watch A Family Thanksgiving (2010) for the reassuring comforts of its adherence to Hallmark formula: nothing says the holidays quite like an ambitious, career-driven woman realizing the error of her ways in a festive family setting. A second, smaller group of us merely want to hear Faye Dunaway cry “Tina, bring me the carving knife!”, an opportunity that screenwriter Emily Baer senselessly squandered.

Minor consolation can be found in Dunaway’s Stevie Nicks meets Mother Goose wardrobe and ill-fitting wig, which might’ve been salvaged from a drag bar’s dumpster after a What Ever Happened to Baby Jane? revue. A Family Thanksgiving is also saucier than the average Hallmark offering, featuring both scatological humor and — heavens to Betsy! — sex. It’s not often you see the heroine tear off her love interest’s clothes in one of these movies, but don’t get too excited: it’s made less unseemly by a time-travel loophole that places the action within the bonds of holy matrimony.

Donna Mills Searches for a Missing Plot in The Lady Forgets

Donna Mills has more hair than memories in The Lady Forgets.

Amnesia is contagious in The Lady Forgets (1989), afflicting not only its puzzled heroine, an art teacher mixed up in a murder she can’t remember, but screenwriter Durrell Royce Crays (Schoolboy Father), who seems to have misplaced its plot and improvised by scribbling bits of dialogue in spray cheese.

If you don’t feel like a neurologist within its first 10 minutes, when Rebecca Simms (Donna Mills) sustains one of her many head injuries and recovers previously lost memories while simultaneously losing newer ones, give it a little time. Eventually you’ll have wondered “Did he just have a stroke?” about several important characters, before finally questioning your own cognitive abilities as you struggle to make sense of anything you just saw — particularly Greg Evigan’s hair, the vivacious mullet of My Two Dads having been cruelly replaced by an ailing squirrel.

Doing Time on Maple Drive: A Favored Son’s Gay Secret

James Sikking, William McNamara and Bibi Besch in Doing Time on Maple Drive.

Before there was Beverly Sutphin, Serial Mom’s murderous matriarch, or Joanna Kerns in Mother Knows Best, there was steely social striver Lisa Carter (Bibi Besch) of Doing Time on Maple Drive (1992). So obsessed is she with making the right impression that you’re forgiven for wanting to shout “Don’t go in there, she has a knife!” at son Matt (William McNamara) when he ventures into the kitchen following a bruising family fight.

Though she’s only preparing dinner, Lisa’s so incandescent with rage over Matt’s broken engagement to Allison (Lori Loughlin, poignantly pretty, with the depth of a thimble), the wealthy daughter-in-law of her dreams, that you half-expect her to stab him. “You’re just going to let him get away with it?” she challenges husband Phil (James Sikking), a rigid military man turned restaurateur. “With embarrassing us? With humiliating us?” Who knows how she’d react if he wore white after Labor Day.

Right of Way: Bette Davis and Jimmy Stewart’s Suicide Pact

Bette Davis and Jimmy Stewart cuddle and fantasize about death in Right of Way.

If I told you that Bette Davis and Jimmy Stewart costarred in an HBO movie about an elderly couple in a suicide pact, you’d probably think I was yanking your chain — and that’s without mentioning that Stewart’s character nibbles on cat food* or that Davis makes tuna casserole, something she certainly never did as Charlotte Vale, Judith Traherne or Margo Channing. It happens in the long-forgotten Right of Way (1983), which was produced in the network’s pre-Michael Patrick King era. In laymen’s terms, that means our octogenarian protagonists keep their clothes on and don’t break up with their daughter via Post-it note.

Instead, Miniature ‘Mini’ Dwyer (Davis, and there’s a long story behind that diminutive) and husband Teddy (Stewart) summon daughter Ruda (Melinda Dillon) to their Los Angeles home, which she finds unkempt and overrun with stray cats. Mini explains their lack of concern: “You see, we’re not worried about the house, the lawn these days, or the cats’ bowls or the weeds. We aren’t worried about any of it. We know we haven’t been attending to these things. We’re not blind and we haven’t forgotten. In fact, it’s just the opposite. We have chosen not to.” Indeed, they’ve been busy with weightier matters, like plotting their deaths.

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