@hotdogsladies Inspired by your kid being super cool & getting into hockey, I wore my #Supertrain shirt under my jersey to the Blues vs Stars game tonight. I am so happy when other people discover hockey and all the dumb parts of this magical sport.
Once worked a youth hockey tournament in Tampa only to find out after the fact I was on the same bench as Food Safety Talk’s Benjamin Chapman. Community building things are my favorite part of sport.

**Paul Sand.** Another crime story! (Two dead bodies in this one.) They should have called this show “Murdertrain!” Mary Louise Weller is heir to a European throne, while Kenneth Mars leads a team of assassins that are after her. The twists and turns of the plot are ridiculous, particularly in the final 10 minutes. A reporter falls for her, knows that she’s been abducted but nobody believes him. A few regular characters appear intermittently and are complete jackasses to this poor guy. It’s meant to be comedic, but rarely has a show created a group of regulars that are so easy to despise. They are smug and incompetent. I was really hoping the killers would shoot the Patrick Collins character at the end, and that he would suffer while dying slowly. Director Charles S. Dubin likes to put the camera on the floor and shoot upwards. No idea why. (So we can see up people’s nostrils, maybe?) We get lots and lots of “wacky” music on the soundtrack. Clearly to tell us that some of what we are seeing is meant to be comedic. Like when the bad guys are trying to hide the dead body of Nehemiah Persoff’s character!! His death was tragic, so I just can’t figure out what tone this show is going for. I don’t want to laugh at him after seeing an old guy die like that. There’s no b-story. And the a-story is much too flimsy to fill an hour. The result is that everything moves slowly in the first half, and we spend a lot of time watching people dance in the train’s disco bar. It’s insufferable. _Feb 1979: Aired by NBC on Wednesdays before From Here to Eternity. Against it, Eight Is Enough (ABC), The Amazing Spider-Man (CBS)._ 4/10
**Dick Van Dyke, Barbara Rhoades, Larry Linville.** This is an odd show. 2 episodes in, and it’s not clear exactly what tone they were going for. I feel like they didn’t know themselves, so they were just taking any script that (somehow) featured a train. This one is written by Shimon Wincelberg, and both of its male leads are cast against type. Linville is a nice guy (going through a divorce) who helps a fallen man (Van Dyke) at the train station. Naturally, the sinister stranger repays this act of kindness by setting out to kill the wife (Rhoades), who is travelling alone on Supertrain. Or is he trying to get the couple to rekindle their lost love? Most of the episode is Linville frantically chasing the train across the country, using ever more extreme methods. (At one point he phones in a bomb threat to get a plane to turn back.) Meanwhile, the other two party-hearty on Supertrain. It has a disco bar and a swimming pool after all. Van Dyke alternates between charming and murderous with remarkable ease. The wife thinks he’s lovely, but it’s strongly implied (to us) that he’s a professional hitman. It’s a peculiar choice of story for an 8pm family hour show. Most of the regular cast are MIA. Nita Talbot is saddled with a truly awful b-story where she is looking after 2 mischievous children. At one point, they set someone on fire! (Huh?!) _Feb 1979: NBC aired Supertrain in the first hour of Wednesday prime time before From Here to Eternity. Against it, ABC had Eight Is Enough, while CBS aired The Amazing Spider-Man._ 6/10
To be honest, it’s not a terrible idea for a TV series. A train will take 36 hours to cross America and every week we’ll get caught up in the lives of the passengers. Sure, it’s silly but a lot of good TV comes from silly ideas. The problem here, based on this 2-hour pilot, is in the execution. First, none of the regular characters are likeable or interesting. Most of them barely appear in this first instalment. Any time one of them does appear they are given inconsequential dialogue. The exceptions are Patrick Collins as a buffoon and Edward Andrews as a pompous grouch. They get some screentime, but not enough to make us like them. The Collins character isn’t particularly amusing and the Andrews character seems needlessly mean. You wouldn’t want to work with either one of these jackasses. Crucially, you wouldn’t want to tune in every week to watch their adventures either. Contrast with The Love Boat, where all those characters are lovable. Second, the script takes the idea of the train so damn seriously. It’s just a fast train, ffs. Get over it. Keenan Wynn plays the brains behind it. He touts it as revolutionary, and we get a lot of shots where the camera lovingly shows us the train, the engineers, the platform, etc. Stuff we are clearly meant to marvel at. But, me? I felt no awe. Because none of this was actual storytelling. So, is there anything to enjoy here? Well, yes. The vast majority of the pilot’s screentime is devoted to 3 passengers and their adventures. Steve Lawrence is perplexed to find that someone is trying to kill him, Char Fontane is the cute girl (with a jerk boyfriend) that he falls for, and Don Meredith is his rabblerousing best pal. They are in most of the scenes and they are a very likeable trio. There’s real chemistry between them, which compensates for the slow-moving storyline. There are several (remarkably inept) attempts on this guy’s life. Some other people are killed. Our trio work together to solve the mystery. And when it is all explained at the very end, it makes absolutely no sense whatsoever. The guests–particularly Steve Lawrence–save this. Without them it would be insufferable. I’m morbidly curious about what the next episode will be like when they are not there. _Feb 1979: NBC aired Supertrain in the first hour of Wednesday prime time before From Here to Eternity. Against it, ABC had Eight Is Enough, while CBS aired The Amazing Spider-Man. However, against the pilot movie, ABC choose to air a 2-hour Charlie’s Angels._ 5/10