“Serenity” is a very silly and very cute little change of pace episode written by Stephen Kandel. The producers rounded up most of the show’s recurring actors – Bruce McGill, Teri Hatcher, Michael Des Barres – and a couple of players like Cuba Gooding Jr. and Robert Donner who had shown up in other episodes, and shipped ’em off about six hundred miles east to the Heritage Park Historical Village in Calgary to make a western.
So of course this is all a dream – MacGyver, exhausted from everybody demanding all of his time, collapses on his sofa in front of an old western VHS – but it doesn’t really matter. It’s a good excuse to let everybody play roles that are just so slightly different and have a “this town ain’t big enough for both of us” story in which Dana Elcar’s mean and desperate rancher contracts a hired gun – Des Barres, of course – to run MacGyver off the land that he wants. McGill is a “tin horn” gambler and Hatcher is the showgirl with a heart of gold. It’s good fun, with a few very amusing lines of dialogue.
Our son enjoyed it a lot, which is nice, because I told him that he’ll get to see Richard Dean Anderson in another western in about a year. He also provided the stunningly insightful observation that with all the snow on the ground, they must have filmed this in winter. One shouldn’t be too sarcastic to one’s children, so we congratulated his deductive reasoning with smiles. Then he wondered whether it might be hail instead of snow.
Speaking of a little song and dance, like we were last time, in this morning’s episode of MacGyver, Penny Parker lands the lead role in a hilariously eighties rock opera, and in the first scene, MacGyver visits an afternoon rehearsal. It’s all downhill from the end of the song.
I apologized to our son for missing out on another recurring character in MacGyver. When I was choosing episodes, I looked at the cast lists on IMDB and passed right over the ones with Michael Des Barres, because he’s an actor I don’t particularly enjoy, without it registering that he plays MacGyver’s arch-enemy, Murdoc. I wasn’t going to go for the obvious metaphor and say it would be like deliberately skipping all the episodes of Doctor Who with the Master, because I didn’t know the character, but darned if he’s not remarkably like the Master, particularly the eighties version played by Anthony Ainley that we’ll meet soon, all silly disguises and outrageous accents and hiding his true identity in clues for the hero, not to mention the unbelievably overcomplicated screwball bad guy schemes for revenge, revenge, revenge.
Although it must be said that as hairbrained and dopey as some of the eighties Master’s schemes were – I’m honestly looking forward to “Time-Flight” about as much as I’m looking forward to my next trip to the dentist – he never tried to stage a freaking rock opera to ensnare our hero. I know there’s been some competition, but this might just be the stupidest episode of this show we’ve seen.
Also, remember what I was saying a couple of weeks ago about naming the surprise actors in the opening credits? It’s cool to list Teri Hatcher and Robert Donner in the opening, but when you say “Michael Des Barres as Murdoc,” it kind of gives the game away. Eighties Who hid their guest villains in the credits with pseudonyms, so anybody picking up the TV listing would see names like Roy Trommelly (Terry Molloy) or James Stoker (Master’s joke) and not, ideally, be on the lookout for anybody wearing a fake mustache and beard! Eh, it fooled our kid, anyway.