As Delta Burke’s Maternal Instincts, a USA Network howler that premiered in 1996, reminds us, some women would die to be mothers—and others would kill for the same privilege. Her Tracy Patterson, an infertile former realtor whose biological clock could explode at any moment, technically belongs to both categories.
Dr. Eve Warden (Beth Broderick), a fertility specialist, cautions Tracy and her husband, Stan (Tom Mason), to be realistic. “Even if all goes well, there’s only a small percentage of success.” Tracy’s sure she’ll be part of that exclusive, odds-defying club, and has already purchased an antique cradle and selected a name for her daughter. Stan, who spoils his wife but can’t give her the one thing she wants the most, isn’t as sure.
Chelsea Hobbs stars in Lifetime’s Confessions of a Go-Go Girl
The only thing you absolutely need to know about Confessions of a Go-Go Girl, a 2008 Lifetime movie, is “fresh cutlets.” When the titular character’s debut dance at an upscale gentlemen’s club is unwittingly crashed by her father, brother and boyfriend (shades of The Ultimate Lie), her dad tersely tells her this: “I have brought clients here before! Do you know what they call the new girls? Fresh cutlets.” You’ll never glance at another supermarket circular without remembering that moment.
When I first stumbled upon this title on the official Lifetime YouTube channel, I assumed it was a Jane Wiedlin or Belinda Carlisle biopic. A cursory investigation revealed that it was, in fact, about a go-go dancer. Jane McCoy (Chelsea Hobbs), a recent college grad, has caught the acting bug. Her prim and proper parents are aghast to learn she’s scrapped her law school school plans in favor of an acting program.
Burt and Liza are under attack by critics, and a crazed killer, in Rent-a-Cop.
The ’80s were a rough decade for Burt Reynolds and Liza Minnelli, with 1988 proving something of a nadir for them both. Not only was Rent-a-Cop a critical and commercial flop, Reynolds had a second bomb with Switching Channels less than two months later. Minnelli’s year was arguably more disastrous, resulting in a Worst Actress Razzie win for her work in Cop and Arthur 2: On the Rocks. All of this makes Rent-a-Cop sound somewhat better, and worse, than it actually is.
Before we get into the plot, let’s take a moment to remember a bit of ’80s movie trivia. Just weeks before Rent-a-Cop was given its ignominious January theatrical release, Nuts received a prestige December debut. Barbra Streisand played a hooker on trial for murder in that Martin Ritt film, an unsatisfying mess that nevertheless garnered a few Golden Globe nominations. I would argue that in the battle of prostitution movies starring non-competitive EGOT honorees, Minnelli made the more enjoyable picture.
Craig Bierko and Sally Murphy fall for each other, and Jesus, in Love Note.
Watching Love Note, a 1987 Christian movie for teens that plays like an episode of Highway to Heaven, you see hints of things to come for lead actor Craig Bierko. Craig Johnson, his fast-talking salesman of a high school student, isn’t so different than Harold Hill, the slick Music Man role for which Bierko was Tony-nominated 13 years later. In Love Note, he’s simply peddling a different product than Hill—salvation.
Our introduction to this precocious teen gives us a lot to digest. Standing before his classmates for a speech assignment, he recites a well-oiled (but still squeaky) spiel that sounds like the work of a middle-aged “How do you do, fellow kids?” youth pastor. It kicks off with a knee-slapper of an anti-choice joke:
Craig: Good morning, and welcome to the morning edition of Point of View. My name is Craig Johnson and I’ll be your host for this morning’s controversy. I was gonna talk about abortion, but, uh, homicide seems like a real ugly way to start the day.
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.
“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.
Alas, Jessica Walter doesn’t attend Motherboy in this one.
Joan Collins and Joanna Pacula wig out in Sweet Deception
Whoever greenlit Sweet Deception (1998) knew it was unmitigated crap. That’s how we ended up with not one but two very special guest stars: Kate Jackson (wearing the type of gaudy press-on nails favored by Linda Richman) and Joan Collins (styling wigs and giving manicures from a wheelchair). We’ll get to those two later. First we need to talk about Jack Scalia’s Southern accent, the least convincing thing in a movie full of ’em.
Joanna Pacula stars as Risa, the second Mrs. Gallagher. Her husband is Fin (Peter LaCroix), a wealthy serial philanderer we meet as he stashes millions of dollars in cash in an offshore safe deposit box. He isn’t long for this world, which is just as well because little about Fin and Risa’s pairing, or casting, makes sense. Equally nonsensically, Scalia plays Brett Newcomb, Fin’s slick Southern law partner in a San Francisco firm. He calls Risa “darlin'” about 87 times in the course of 90 minutes, sometimes while wearing a bow tie, as if lost on his way to a dinner theater production of Midnight in the Garden of Good and Evil.
Kate Jackson plays her embittered ex role a bit broadly.
The first Mrs. Gallagher, Kit (Kate Jackson), is also in the picture, making a scene at a soiree attended by her ex and casually greeting his new wife with an insult: “Hello, Risa. Beautiful dress. It’s a shame they didn’t have it in your size.” Jackson has very few lines altogether but might as well be in a Honeysuckle Ham catalogue with her exaggerated facial expressions and swigs of champagne that have absolutely nothing in common with the rest of Sweet Deception.
Judith Light and William Russ in A Strange Affair (1996).
Adjust your elegantly styled wigs, for we’re about to delve into a scandalous Judith Light romance that’s one of the better TV movies I’ve reviewed here so far, even though no one sleeps with danger or impregnates a nun played by Kristy McNichol. What we have instead is a good old-fashioned tale of a long-suffering wife, Lisa (Light), whose philandering husband, Eric (Jay Thomas), has a debilitating stroke just hours after she finally leaves him. Oh, and the new lover, Art (William Russ), who patiently helps her provide in-home care for her estranged husband even as they’re shunned by friends and family because of their unconventional arrangement.
“God, Mom, you’re so lame. You never let me sleep with danger!”
It always happens like this, doesn’t it? You try to spread holiday cheer by writing about Ebbie, an old Susan Lucci Lifetime adaptation of A Christmas Carol, and through a convoluted series of events find yourself weeks later watching Mother, May I Sleep with Danger? because of it. Who among us hasn’t done it? It’s the tale as old as time that Angela Lansbury so touchingly warbled about in Beauty and the Beast.
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.
