So I had talked about reviewing “Pride and Prejudice and Zombies” in my last post, but honestly… I wasn’t a fan of the book. I read it for the novelty and to say I’ve read it, but I’m not a fan of zombies in the first place. Suffice to say, the original book was better, although I do admire the innovative idea. I’d only give it 3 out of 5 though, because it would have been much better as a book of its own, rather than a parody that borrows almost the entirety of “P&P.”
In lieu of that, I decided to review a bookend episode of “Murder, She Wrote” from season 3. Episode 14 is entitled “Murder in a Minor Key.” There will definitely be spoilers involved, so please be advised. And although I’d like to provide a play-by-play, this is not the podcasts that I like, and space is (in my mind at least) limited. I grew up watching this episode repeatedly, but watching it for the purpose of reviewing makes several failings apparent.
A brief-ish summary of the episode is as follows: Chad, Jenny and Mike are college friends out for fun at a bar, when they hear a song being played by the pianist there. Mike recognizes the tune as one he wrote for a composition class, and finds that it’s being used for a Broadway musical, and the composer is someone called Alden Gilbert. Mike confirms that it’s his tune, charges off to campus and confronts Professor Stoneham, who does all but admit that he’s stolen Mike’s songs. Stoneham tells Mike that he can’t prove that the songs were originally Mike’s, and he won’t give them back. Mike gets angry and threatens Stoneham, grabbing a tuning fork to prove his point (I guess), and is witnessed by Professor Papazian coming in. Mike later tries to break in at night and steal his assignments back, but is discovered by the security guard, who also discovers a very-much dead Professor Stoneham at his desk, tuning fork plunged into his chest. In true MSW fashion, Mike is presumed guilty, and Chad and Jenny must prove his innocence.
Now, as is evidenced by the fact that Jessica Fletcher was not mentioned in the previous paragraph, this is a bookend episode. JB (Jessica Beatrice for the uninitiated) appears at the beginning, end and at the commercial breaks. She is narrating, for the viewer, her newest novel during a cozy evening at home, in what she claims are comfortable fluffy heels that were a gift from Grady. I’m sorry, Jessica. As much as I admire you, those shoes are ugly.
The actors in the episode, for the most part, do the best they can with a script that lags sometimes. Mike, played by Paul Clemens, is overacted in my mind. He seems uselessly on edge most of the time, but truth be told, as lovey-dovey as Jenny and Chad are all the time, maybe he’s got a reason. People being all flirty around me irritate me too. Professor Stoneham, played by George Grizzard, is second in possible overacting, being so smugly superior to everyone as to be a classic villain of the piece. Karen Grassle, playing Christine Stoneham, is mostly known as Caroline “Ma” Ingalls from “Little House on the Prairie”, and I find it interesting that her first line in the episode is a curse word. (side eye) Rene Auberjonois is very good as Professor Papazian, as he has been in every thing I’ve ever seen him in. Dinah Manoff manages to make a somewhat annoying character likable (sorry, but Jenny is the type of person I would probably maintain a superficial relationship with). But wearing shoulder pads with (I think) every outfit only makes her look like some type of hunchback. Shaun Cassidy steals the show as Chad, being a younger Southerner version of Jessica Fletcher who has yet to perfect his interrogation technique.
There are plot holes that I have to pick at. The first is simply, as a recent student myself, why does Mike not have rough drafts of his compositions that he can use as evidence? What kind of dingbat professor makes you turn in rough drafts and keeps them, instead of returning them to you with critiques and red marks?? Although this was in the 80s, and someone might think there was less technology available for copying and stuff, this makes no sense to me.
Secondly, tiny but still– how did Chad recognize Max Hellinger (an excellent Herb Edelman) outside the police station? Did his coat draped over his shoulders somehow reek of Broadway and broadcast his identity to Chad?
The whole background of the riots caused by Transacom… what is that about? This is what galls me the most. If this was a typical MSW episode, I think that would have been addressed, even as a red herring type side plot. It would have had a purpose. As it is right now, it’s simply a reason for a lot of noise and a lot of people being on the campus. We have no information other than a well-liked professor was fired because of influence from Transacom. And it gives a reason for the newspaper reporter’s presence. However, this Walter Cronkite-wannabe looks like a parody of Bob Ross, and I can’t really take him seriously. Sorry. If this really was a novel of JB’s, there would have been a detailed explanation of this whole side plot; and if this is supposed to be an adaptation of her novel, it is sorely lacking.
Perhaps the most obvious plot hole in this episode (pointed out to me by the hosts of Cabot Cove Confidential) is the whole issue of time when Mike is hiding in the music storeroom. He keeps looking at his watch, and while this is useful for establishing a timeline for the murder, it makes no sense. Why is he obsessed with it? If we knew that he was in a hurry because he had to meet someone later, it would make sense. But it doesn’t. Also, there really isn’t enough time for Christine to have gone in unobserved and had an argument with Stoneham, kill him and leave. True, they have Mike go to the window and watch the protest, and I guess the noise was supposed to have covered up Stoneham and Christine arguing (seriously, WHY did they ever get married in the first place!?). But there is not enough time. I would imagine that Christine would be shocked and take a couple seconds to process what she had just done, then run out. This time discrepancy could have been explained away if Mike had dozed off in the storeroom (college students are notoriously exhausted all the time, even with noisy surroundings), and woken up when the office door had closed and Christine scurried off. But they had none of this, and it doesn’t make sense.
The last big complaint is that the Poirot-style reveal at the end really isn’t needed. Chad could have gone to the police and explained what he realized about the timeline, and the absence of Christine’s so-called phone call. Then the police, ya know, the ACTUAL detectives in charge of this case, could have questioned Christine again. Considering how quickly she cracked under Chad’s farce, it seems like she would have confessed to actual authority if questioned specifically about that. And JB, I’m sorry, dear lady, but I don’t see how it would have been possible for anyone watching this episode to solve the mystery that easily. When the solution revolves around such a small clue, even when reading the book, it’s difficult to solve.
Some last notes from my notebook:
The Stonehams’ have a horrible driveway.
Chad says “I don’t mean to make a pest of myself.” You sit on a throne of lies, Chad, and you know it.
Why does Chad have to peel off the police seal on the door?? “Oh, it seems like it’s peeling off.” Um, yeah. You know someone else broke in, so why do you have to put yourself down for “destruction of police property” (or whatever it’s called) in order to make a point. Use your brain, bro.
Final scores:
Plot: 6/10. Had potential. It’s a murder mystery written by JB Fletcher, for Pete’s sake! You could have made it so much better!!
Guest Stars: 8/10. Over-acted in some cases, but most of them do their best.
General Enjoyability: 8/10. Truthfully, as I mentioned, I grew up watching this, and I always enjoyed it. Reviewing it, I acknowledge the flaws, which are many. But I still like it. Sorry for those who dislike it.
Solveability: 4/10. If I hadn’t seen this episode before, I don’t think I could have solved it. It sets up the alibis, sets up the murderer, but it doesn’t do it in a way that particularly points out Christine as the murderer any more than anyone else. If anything, I can almost understand the police thinking that Mike was the murderer.
Use of JB Fletcher: I’m using this category for the bookend episodes to gauge how they use JB as a barely appearing presence. Ehhh, I had to go with 4/10. She pops up, and introduces the book and summarizes things. But I don’t like how she interacts with the audience. I would prefer her talking to a friend about the book, like maybe asking Seth his opinion on the novel.
So that’s my review altogether. A huge thank you has to go to the amazing Damien and Jennie of Cabot Cove Confidential. They were the first podcast I ever listened to, and they set a high standard. They ended their podcast after the fifth season of MSW (which I still grieve over), and were gracious enough to allow me to adapt their rating system for this blog. Their episodes are still up and ready to listen to, so give a listen!
I make no promises about the next blog post. I may have the 6th season of MSW available or may have to figure out something else. Until then, see ya on the flip side.
Random English Major Thoughts 