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Tag: Mothers and Daughters

Murder is Genetic (and Campy) in Tainted Blood

Raquel Welch butches it up in Tainted Blood.

In Arsenic and Old Lace, Cary Grant’s character famously quips “You see, insanity runs in my family. It practically gallops.” Tainted Blood, a 1993 made-for-TV thriller starring the tiniest bits of Raquel Welch and Joan Van Ark’s original faces, takes that premise and stigmatizes it within an inch of its life—it would make you cry uncle, if you weren’t afraid that he, too, would show up and go on a killing spree.

Welch, inexpressive as ever in a series of drably colored power suits, plays Elizabeth Hayes, a bestselling author of books about “the breakdown of the American family” and “prostitute spies in Washington, D.C.” We meet her as she crashes a funeral in Oklahoma, where high school athlete Brian O’Connor (John Thomson) shot his parents and then himself in a crime that left their small town reeling. Her instincts for tabloid journalism are rewarded when Brian’s grieving aunt (Molly McClure) reveals her adopted nephew was born in a psychiatric hospital.

Poison Ivy: Cheap Lesbian Thrills in (Mostly) Straight Packaging

Drew Barrymore is a teenage femme fatale in Poison Ivy.

If you were a young lesbian in the mid-’90s and your parents had cable, you were most likely aware of Poison Ivy. It was the perfect tawdry late-night fare, with a little something for everyone. Your more lascivious straight guys were there, of course, for the lurid sexual content featuring a jailbait antagonist. For everyone else, you had Drew Barrymore’s delightfully perverse machinations and Cheryl Ladd as an emphysema patient dying an unusually glamorous death.

Lesbian overtones (and lip locks) shared by Barrymore and Sara Gilbert were an added bonus for gay adolescents like myself. It wasn’t as titillating as the Aerosmith video with Alicia Silverstone and Liv Tyler (back then, few things were), or romantic like Fried Green Tomatoes. But its legend was burnished by two simple things: Gilbert, we already sensed, was one of us. And Barrymore was widely rumored to be bisexual. In that prehistoric pre-“Puppy Episode” era, you had to take what you could get.

My Mother’s Secret Life … as an Escort

Loni Anderson (un)dresses for success in My Mother’s Secret Life.

The big daughter-seeks-birth-mom TV event that everyone remembers from 1984 is, of course, the miniseries Lace. History has unfairly forgotten My Mother’s Secret Life, and I’ll be pleased if I can get even one person to revisit it. It’s an engaging (and unintentionally funny) telefilm that is perhaps best described as “Loni Anderson’s Charlene moment.” I encourage everyone to get in the mood right now by listening to the song of which I speak.

Now that we’ve taken the hand of a preacher man and made love in the sun, I think we can continue. My Mother’s Secret Life opens with Anderson’s Ellen Blake draped in about 30 lbs of designer clothes and furs. It’s all soon to be removed with artful precision in a demanding john’s penthouse suite. “I’m the buyer here,” he tells her aggressively. “I want to know what I’m buying. You do come at a premium rate.”

Rue McClanahan’s Bit Role in Back to You and Me

Rue McClanahan embraces Lisa Hartman Black in Back to You and Me.

You never wake up thinking today’s the day you’ll enroll in a free weeklong trial of a Christian streaming service to watch a Lisa Hartman Black movie. (At least I don’t, but I’m an agnostic Jew.) This morning I thought I’d shred the pile of papers in my office or re-caulk around the basement windows. Then I read a synopsis of Back to You and Me and laughed. Hartman (Valentine Magic on Love Island), a fifty-ish woman in 2005, attending a 20-year high school reunion?! Rue McClanahan’s her estranged mother? This required investigation.

That’s how I came to subscribe to UP Faith & Family, joining via Amazon Prime for the free trial. My wife found this development mildly alarming. Her parents were religious fundamentalists who didn’t allow her to listen to secular music or play video games other than Joshua & the Battle of Jericho as a kid. (Mavis Beacon also taught her to type; her dad misrepresented it to her as a video game.) They rejected most TV shows as unwholesome, with permissible fare including Touched by an Angel. An inspirational streaming service must have triggered flashbacks.

Joanna Kerns is Comic Perfection as Murderous Mother Knows Best

Joanna Kerns schemes in Mother Knows Best.

“Just call me and say ‘The carpet’s been cleaned,'” Celeste Cooper (Joanna Kerns) tells a hit man at the beginning of Mother Knows Best, after ordering the execution of her son-in-law. “I want whoever does this to be extremely careful,” she warns. “As careful as I am.”

Celeste, a socialite who is perfectly coiffed and manicured even while shopping for cheese, is indeed quite careful. So meticulous is this tireless fundraiser for charitable causes (recently honored as Handicapped Children’s Woman of the Year) that she times false accusations of assault against that same beleaguered son-in-law to coincide with her latest eye-lift.

In Lady Killer, Judith Light’s Affair with Jack Wagner Imperils Her Family

Jack Wagner has dangerous abandonment issues in Lady Killer.

We might as well get this out of the way here: I consider Judith Light the Maria Falconetti of American made-for-TV movies. She is without peer. No matter the limitations (or excesses) of the material or her costars, her performances tend to be tiny marvels of subtlety, sympathy and generosity. Lady Killer (1995) is only the second of her films I’ve reviewed here, after A Strange Affair (1996), and it’s easily one of my least favorite of hers, but no matter how silly it might sound to the uninitiated, she genuinely elevates the medium.

Here she stars as Janice Mitchell, a homemaker who spends more time in the company of her therapist than with her workaholic husband Ross (Ben Masters) and co-ed daughter Sharon (Tracey Gold). Ross is usually overseas and with Sharon away at school, Janice is lonely and directionless. For fun she takes architectural tours, which is how she meets Guy Elliman (Jack Wagner), a self-described sometime architect whose voluminous hair suggests the balance of his time is spent deep conditioning.

Rue McClanahan Plans a Wedding and a Funeral in Mother of the Bride

The ever-expanding Becker-Hix family in Mother of the Bride.

What a whirlwind of a week it has been. It was only Monday that I first met the Becker-Hix family, who had gathered to quarrel, self-destruct, and reveal the occasional secret in Children of the Bride (1990), all while celebrating their mother’s marriage to a significantly younger man. And it seems like just yesterday (because, in fact, it was) that Baby of the Bride (1991), its first sequel, incensed me by turning that amiable husband into a floppy-haired jerk who threw a 90-minute fit when his wife wouldn’t have an abortion.

To say my hopes weren’t high for the final entry in this made-for-TV trilogy, 1993’s Mother of the Bride, would be an understatement. How surprised I was, then, to find this the most enjoyable installment of all. In the words of Vanessa Williams, “Just when I thought our chance had passed, you go and save the best for last.” That’s right, stars and executive producers Rue McClanahan and Kristy McNichol, that song is dedicated to you.

Rue McClanahan Explores Geriatric Pregnancy in Baby of the Bride

McNichol gave birth to a baby girl; McClanahan a bouncing baby wig.

When last we met, dear reader, we were enjoying the emotional highs and lows of Children of the Bride (1990), in which Rue McClanahan’s offspring squabble against the backdrop of her wedding to a younger man. Baby of the Bride (1991) picks up shortly thereafter, as Margret (McClanahan) and John Hix (Ted Shackelford) return from their honeymoon, but instantly we see things have changed.

The camera lingers on a recreation of the wedding photo from Children. Patrick Duffy has been replaced by his Dallas castmate Shackelford. Dennis, the son who can’t keep his pants zipped, is now played by John Wesley Shipp in place of the more lighthearted Jack Coleman. Their faces are curiously free from bruises, reminding us that the centerpiece of the first film was a kooky brawl the night before the wedding that left a mark on several characters.

Rue McClanahan’s Matriarch Trilogy Begins with Children of the Bride

Children of the Bride‘s one big happy family

While I’m stuck on the couch for the next couple weeks, having been told to avoid the Omicron surge while immunosuppressed, the timing seems right to dedicate myself to the study of one of the holiest trilogies in cinematic history: Rue McClanahan’s made-for-TV Bride series.

This is where it all began, folks, in 1990, with Children of the Bride. The credits, including “Special Guest Star Patrick Duffy” and “Music by Yanni,” hint at something memorable. Things begin promisingly, with Kristy McNichol dressed as a nun, and of course I’m here with a screen cap for those of you who are into that sort of thing. And who’s that over there, once again not acting too homosexual? Why, it’s Dynasty’s second Steven Carrington! They are but two of McClanahan’s many kids, one more troubled than the next.

The Time Nancy McKeon Got Schizophrenia

Recently I was minding my own business, looking for something to watch on Netflix, when I did what everyone who has been in a similar situation has done at one time or another and entered “Valerie Harper” in the search bar. Recommended was not Rhoda, sadly (or, less sadly, Night Terror), but an unfamiliar title called Strange Voices.

The plot description of this 1987 telefilm didn’t sound too promising: When their college-age daughter suddenly begins acting erratically and is diagnosed with schizophrenia, a desperate couple seeks treatment for her. But the casting was enough to catapult any TV movie into the category of “viewing as essential as Children of Paradise and Battleship Potemkin,” for this very special story starred Valerie Harper as one-half of that desperate couple and Nancy McKeon as her daughter.

Misty watercolor memories of the way they were.

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