Season 1 Overview

Airdate: 03/06/1985

Directed By: Victor French

This time, back in Hollywood. As the title suggests, this episode is set within the industry and revolves around some actors. Like many more in the series, but not as many as the Bums, Bins and Drugs assignment anyway.

Trademark Features

• Assignment

First as the title suggests, the assignment is set in Hollywood. And, like most episodes set in the same city, it revolves around actors (yet another Tinseltown job): this time, a spoiled child actress is so full of herself that she treats everyone as her subordinate and her family is drifting apart, while a humble girl is about to have her break, with the risk of losing touch with reality. If that sounds familiar or the title rings a bell, it’s true: there are many similarities with Catch A Falling Star. But now, the perspective is largely flipped—sort of. On that episode, it was a busy actor father who only cared about his career and neglected his kids, while now it’s the kid struggling with being famous. That really must have been dear to Landon, though he’s not the one directing nor writing this time. But it also must have been dear to French as well: in numerous interviews he outspokenly condemn the way Hollywood and the “Star” system worked back then.

In particular, during a 1979 interview for the Philadelphia Inquirer, he discussed how acting on Television has changed both actors and the perception people have of them, wanting them to acts in a certain way according to the image they’ve built. On that occasion, he revealed that he was once reportedly told on the street ‘You’re a big TV star, and I’m just a carpenter‘, making him uneasy at such hierarchical vision people have of famous actors. Then, he reported this vision is part of the way the system is created in the first place: “We’ve built a show business aristocracy” and “Hollywood creates monsters, and we have to live with them“. So, he went on to discuss how this “aristocracy” eventually changes the way people interact in the industry as well: “Actors who pull rank are an absolute pain… they begin to believe their own fan mail. Some guys pick on anyone they consider a subordinate. He’s forced to take it only because he has a small part“. Much of what he talked about in the interview will be featured in the episode, which is basically about that.

Eventually, he added his personal opinion about all this: “I find that pretty disturbing, because we desperately need each other. One actor is no more important than another“. Curiously, during the interview, he talked a little about his personal experience with that: “I’ve been exposed to that kind of treatment, but I’ve never taken it. I never will“. Though now he has to, as Mark, of course.

• Background

The setting is Hollywood, again. Instead, as of the time-span, it’s rather unclear: possibly it takes place over the course of some days or a week. It’s also unclear where do Jonathan and Mark sleep in the episode: if they do not sleep at the actress’s house, it’s possible the assignment takes place shortly after A Child Of God, which means it would be a three weeks long work for them.

• Characters

This episode marks a comeback for the series: at the beginning of the episode, when Jonathan becomes the actress’s driver, he probably felt it was a good idea to put back his flashy, Malibu-based actor sunglasses on.

There was really no need for that, and there is no mention to Jonathan’s glasses for this scene in the script either. Maybe he’s just fitting the stereotypical image of a child actress’s driver. Or maybe Landon forgot to take them off because he has become used to driving in a busy street with something to conceal his identity, otherwise drivers would recognize him and stop him or spoil the production. Because that’s exactly what happened some episode back, while driving around Hollywood.

He learned the lesson: never move on a busy street of L.A. without sunglasses on.

Or maybe the sun was particularly blinding, and Landon couldn’t drive without anything on. Safety comes first.

Anyway, this was the second time in the series Jonathan wears Landon’s sunglasses, or any sunglasses for that matter. The first time was during As Difficult As ABC, to bust some dealers out. There are going to be other occasions in the second season.

Also, one important thing to notice is that, during the episode, Mark plays a marginal role: basically, he appears for the first 15 minutes when they get the assignment, then he totally disappears for all of it, supposedly remaining working at the house while Jonathan handles this, and he just comes at the conclusion when Lori makes him that confession about feeling inadequate and uneasy with her public image. Maybe it’s because he said he needed a vacation and Jonathan decided to handle the assignment without him.

Jonathan may never have to rest, but Mark has to once in a while. He’s not the probationary angel in the series.

• Production and Setting

The settings of the episode is around Los Angeles, while production took place in the first week of February 1985. Apparently, the production seemed to be quite rushed this time: the screenplay of this episode was completed on January 28th by Christopher Beaumont (who belongs to the highwayman).

The production began on February 6th and lasted for one week. By the time the Beaumont completed it, they were presumably still producing either A Match Made In Heaven or The Banker And The Bum, so they didn’t even get a day break. And the episode aired on March, around three weeks after the production wrapped completely. They must be very committed to the series if they were willing to work at that pace.

Also, about the production, this episode was directed by French. It’s unclear the way he and Landon divided the direction each time: maybe French wanted to be on this one because he felt the assignment pretty close to his ideals, or maybe it was done to accommodate Landon’s schedule or something.

Anyway, there’s something to point out about that: in the episode, Mark basically disappears for most of the time and, curiously, in the second season there are multiple episodes directed by French where his character is arguably featured less prominently than most episodes with somebody else directing them. Maybe it just a coincidence, but it could be that French would rather direct episodes in which he doesn’t have to act that much. It could be that he wanted to be either actor or director, not both at the same time as Landon was, or maybe it’s just a coincidence.

Glossary

Blooper: there is certainly one at the beginning of the episode, but possibly another one too at the conclusion. The first one is when Mr. Parks wakes up and walks down, while Mrs. Parks is watching him with her hands one over the other.

However, immediately after that, her hands are now apart.

The second one is not likely a blooper, yet an odd feature: at the conclusion of the episode, Mark complains that he wanted a holiday and Jonathan was about to swear they didn’t have any assignment, until a girl hitchhikes by the street and Jonathan makes the Joey Chitwood with the car. So, as the girl is running towards them and Mark exclaims that Jonathan was promising they didn’t have any assignment, there’s Jonathan’s voice that replies: “I know that”, and then the music abruptly swells and the episode is concluded like that. However, it seems like he didn’t finish his sentence, as he seemingly adds “Didn’t swear”, which is covered by the music. It seems like he was still talking but the score cut him off. This seems to be further confirmed by the episode’s script, where Landon’s line was actually longer, and concluded with: “I know that… but I didn’t swear…” and then the music would swell and the episode fade out. Apparently, they actually concluded the episode with that line, but for some reason they cut it with the music. It’s unclear whether they started playing the music too early and covered Landon’s voice, or whether they realized that last part was useless and cut it away, yet there’s definitely something off.

Doozy: the little girl is one of the most obnoxious kid in the series. One instance is when Mark scolds for mistreating Carla and she brushes him off.

And it seems like a sort of joke or reference, as French was actually the director on this episode.

But she proves to be doozy already at the beginning, when she runs away from her home for no reason.

In the episode, she never explains why she was on the run in the first place, and it can’t be just a nag or an impulsive decision like when kids get away from their parents for a couple of hours: she’s carrying a bag, she likely planned to leave and never come back. She probably didn’t have any valid reason for doing that except being a doozy and delay production and get somebody to look for her.

References: there is something that sounds like a reference from Little House, but it could be a coincidence In the episode Lori is acting on a picture which involves a peasant girl and a rich spoiled one.

It sounds like the a reference to Little House and the complicated relationship between Laura and Nellie, who begin as enemies and turn to friends eventually. Just like the actresses playing them, and just like what happens to the characters here. Maybe Lori is in a picture about Little House or something.

Curiously, if this episode were considered a sort of Little House behind the scenes (with Lori and Carla playing a fictionalized version of the actors in Little House), it can be implied that Alison Argrim (who played Nellie on Little House) was just as obnoxious and hard to get along with as Lori is in this episode. But, again, maybe it’s just a coincidence.

Highwayman: this episode was written by the mysterious Christopher Beaumont, who joins the highwayman. Apparently, he began his career as actor in the 1970s but turned to writing in the 1980s and seemingly retired after some years, his last credit dating back to two episodes of “Port Charles“. Here, one curious thing to point out: in 1971, during his career as actor, he also made one appearance in Bonanza, for the thirteen season. Anyway, it remains unclear what he’s been up in after his retirement.

Joey Chitwood: one instance Jonathan alts Mark’s car at the conclusion, also breaking his promise that they would have had a vacation.

New “Stuff” power: in the episode, Jonathan uses the “Stuff” to turn on some hydrants and get Lori soaked.

Again, in this series they think it’s amusing and not childish at all to laugh at soaked people: they did that on Hotel Of Dreams and One Winged Angels, now here.

But maybe they really think it’s amusing, as they’ll do that again in this episode: this time, in a pool.

That’s kind of reckless for the girl’s life: what if she can’t swim, or those chairs hit her in her head and she passes out.

But Jonathan and Mark do not seem to care, and just laugh at her.

It still seems like something adults would do to make children laugh but nobody laugh except the adult. But maybe they really think it’s amusing for them, somehow.

Then, during the beginning of the episode, Jonathan seemingly uses the “Stuff” to turn the booze Mr. Parks drinks into simple water. However, it’s not directly shown, but only implied by Mr. Parks saying that what he’s drinking doesn’t taste like the usual booze, and it’s left unclear whether it was Jonathan that actually use the power to do that or it’s just Mr. Parks that can’t taste it for some reason, maybe because he’s used to drink more of it, or maybe Jonathan didn’t turn it into water but rather something else.

Actors’ Brothers: the actress playing Carla, is Laura Jacoby, a former child actress who has retired now.

But she comes from a family of actors that is very familiar with the series: she’s the sister of Bobby Jacoby and Billy Jacoby, who had both appeared on Highway on some early episodes. And they all had similar roles: the episode with Bobby Jacoby was about Hollywood and acting — and his character would eventually become an actor just like Laura’s character does here — while the episode with Billy Jacoby was directed by French as well, like this one. I mean, if it were a coincidence, it would be weird: maybe Laura Jacoby just heard about by her brothers and went there for the episode, without telling the production who she were — which is eerily similar to the story in Catch A Falling Star. Or maybe she was just good.

Punchline: there is a particular punchline that basically encompasses what the assignment is about, including the idea French expressed in his interview. Near the conclusion, when Jonathan is driving Carla to work, she asks him some explanation on why Lori was so mean towards everyone, and Jonathan replies that Lori has changed after becoming a “Star” and started believing what other people said around her.

This was basically the same idea that French proposed in the 1979 interview on the Philadelphia Inquirer about actors believing to be important because other people make them feel that way and about Hollywood creating monster. Or, in this case, doozy kids, too.

Assignment: Jonathan and Mark are assigned to help a spoiled child actress and the humble daughter of her maid find their true aspirations and learn how to properly handle fame without being compromised by it.

A girl is seen hitchhiking at Porto Marina Way, Los Angeles, mysteriously calm and with only few cars that day (likely they closed part of the highway for the production of this episode).

She was probably inspired by Jonathan from the introduction: same mysterious bag, same convicted felony attitude.

Suddenly, a car pulls up, and she immediately speeds away, opens a wooden gate to a private property and hides inside.

Now, how on Earth was that door unlocked? Maybe people in Hollywood just leave their homes open, because it’s Hollywood and everyone knows each other there, or is it just Jonathan’s idealism at play (that people a hundred years ago didn’t use locks or whatever), which has taken root since the Pilot

Anyway, the man runs past the house and keeps going, so she runs the other way, only to almost get hit by Mark’s car, who takes her in the car with Jonathan, and they drive away.

Then, she explains that she’s an orphan, and asks them to get her an ice cream, so she’ll go back to the orphanage.

Mark is a reformed man, but that’s just too doozy for anyone.

Now, it’s pretty unnatural for a kid to just hop into some weird people’s car and demand they get her an ice cream. Most people would have shoved her right out of the car instantly.

Anyway, while the girl enjoys her ice cream (and Mark doesn’t have any), a boy approaches her and asks for her autograph, revealing she’s Lori, a famous child actress — fictionally, of course. So, Jonathan and Mark take the girl back to her home.

Lori’s parents (whose names are never revealed, and they are only credited as “Parks”) offer them some money for their help, but of course, Jonathan turns down. Then, Mr. Parks offers to give them some work, doing repairs around the house. But instead of working as they are supposed to, they befriend the maid’s daughter, Carla, who apparently works at Lori’s house as well.

Now, why is she working with her mother, and why would her mother even allow her to be in such a disastrous, unsafe, enslaving place. Because that’s exactly what that place is — she could be picked up at any moment. And that’s exactly what happens next: Lori mistreats Carla for taking the bike without her permission.

Hidden reference to bins here.

But the explanation why Carla’s mother allows her daughter to stay there comes soon enough: while everybody’s on set, Carla tries one of Lori’s dresses on.

That’s what this was all about then: just pretend to live like an actress.

Also, it’s better to keep it from Lori, as she didn’t even want Carla to have a thrown-away bike.

You shouldn’t take her to your workplace then.

Presumably, some time later, Jonathan is told he’ll now be Lori’s driver and has to take her to the set.

While they head there, Mr. Parks reveals that he used to be a driver but was forced to retire by Lori’s agent because it wasn’t seen as an appropriate job for the father of a famous child. When Jonathan pressures him asking why he didn’t stand up to Lori’s agent, Mr. Parks responds that he did it because her daughter’s career was important — giving Jonathan the opportunity to drop his punchline

So, Mr. Parks realizes he shouldn’t be judged for his job resolves to take it back. But when he tells his wife about his intention, she tells him that would hurt their daughter’s image and they start arguing about the way they are bringing up their daughter.

So, Mr. Parks says he’ll leave them because he can’t stand it there anymore.

Then, Mrs. Parks head to the set, has an argument with the director over her daughter’s character, and then orders him to change it while she wait in her daughter’s dressing room. Which has a Star on.

Just to make it clear whose room is that.

Then, the director informs the producer that the girl playing the peasant has been fired and they need somebody to replace her.

Suddenly, Jonathan walks on set unsupervised with Carla. and the director notices her and asks her to try for the part.

Of course, the director notices her and believes she’s an actress sent there for the vacant part.

If that rings some bells, it’s basically the same thing that happened in Catch a Falling Star — actually, that’s exactly what happened to Brock, the character played by Laura Jacoby’s actual brother: Jonathan takes him on set for some reason that are not having him to play, they think he’s an actor and asks him for a part, he refuses, Jonathan encourages him and he gets the part eventually.

I mean, these two episodes have so many similarities: same word in the title, same settings about taking care of doozy kids, same moment where Jonathan takes a kid to the set and the kid is turned into actor, same family of actors playing those kids, even same word “Star” on the title.

Of course, just like on that episode, the kid (then Brock, now Carla) is scared and asks Jonathan if she can do it.

Trust him, Carla, or at least trust your brother.

And, just like he did with her brother, he turned a random kid into an actress. Because, according to Landon, acting is as easy as pretending, and if you’re a kid and put an act on your parents and they believe you, then you’re an actor. Or maybe it’s the kids in her family that is very good at lying to their parent.

So, just like her brother, she lands the role.

Now, the director calls Mrs. Parks to talk about it.

And she learns the producers chose a different actress for Lori’s pictures.

It’s weird how they dropped Lori liked that, considering that she’s famous and she could make any picture she’s in very successful, or maybe they replace Lori with another child actress that is even more famous than her.

Now, that’s quite problematic for multiple reason: I mean, they said that the peasant girl was fired and Carla supposedly took her place — but Lori was playing the wealthy girl, not the peasant one, and now there would still be a vacant role. Unless they mean that now the protagonist would be Carla and they cut the wealthy girl out. Which even means they changed the script during the production — maybe a jab at the way Hollywood productions works, that makes changes to the screenplay continuously.

Also, the producers supposedly couldn’t fire Lori because she’s an established actress that attracts people, but now they fire her to replace her with an unknown actress. I mean, the problem was just about looking for the right actor then. They could have done that before and never hire Lori in the first place. The process of becoming a “Star” in Hollywood is just as mysterious as what Jonathan’s carrying in his bag from the introduction.

And Lori must be confused as well, by the way she looks at her mother.

She doesn’t know the answer either.

Anyway, Jonathan takes Carla on set and warns her about the problems that come with fame, like people who pretend to like her while they just want her for her money.

Eventually, he tells her that Lori was a victim of her fame, and needs a second chance.

So, Carla talks to the director and convince him to have Lori back for the wealthy girl

Because it couldn’t be Little House without Nellie, isn’t it.

Then, Lori finds Mark (who had disappeared all the episode) and finally opens up to him about her feelings on fame, revealing she never liked that because of all the impositions they made on her.

And then she talks about some of the things that a “Star” has to endure for being one.

Then, her father — who had abandoned them earlier — suddenly appears behind her and they reconcile.

And Mark is pleased by the way things have resolved now.

As if it were your merit: you just disappeared until then.

In the end, Carla convinces the director to rehire Lori, promising she’ll behave herself, and the two actresses become friends.

Then, Jonathan and Mark are driving now, and Mark thinking about what they’re going to do next.

Mark, it’s just March and that’s not the last episode of the season yet.

Suddenly, they see a girl hitchhiking, again.

So, Jonathan uses the “Stuff” to stops the car and help her. And annoys Mark, of course.

Here a Joey Chitwood instance.

So, it is implied that girl is their new assignment, though she won’t be seen in the series. Again, it further confirms the series doesn’t show all the assignment Jonathan and Mark deal with. Even though, this time, they actually show they’ll be working on something that won’t be mentioned in the series again, instead of leaving it unclear. Or maybe Mark will speed away right then and leave the girl there.

That was a very stuffed episodes with multiple events occurring at the same time. And it was also a successful one, somehow managing to hold its own and keep ratings just as high as its predecessors, even higher than the first Hollywood episode of the series. But it’s likely because that aired when the series was still not as successful as it is now.