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Bastet

Season Two: Introducing Mildred, the Loft and the Auburn

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I love this season, despite missing some things about the season one dynamic.

I like the movie theatre opening credits, especially the empty chairs at the end.

And I like so many episodes from this season.  Red Holt Steele is one of my all-time favorites, and in this season we meet people like the Pipers and Major Descoine. 

Unfortunately, we also meet Anna, which would have worked had she not been played by the same women who played Felicia.  Like most of its contemporaries, this show re-used actors, and particularly actors who were connected to the stars or producers, but having Cassandra Harris play Double-Crossing Woman From Steele's Past #2 when she has already played Double-Crossing Woman From Steele's Past #3 was silly.  Which is a shame, because the script (by my favorite of the show's writers, Susan Baskin) is a good one.

Edited by Bastet
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I had a massive crush on the Auburn.  It was a character in its own right.  I can still ID a 1936 Supercharged Speedster on sight. Or at least the replica they drove around.  That car...it was perfect casting.  And in contrast we have Laura's VW Rabbit. Both white, both convertibles, both kinda shy on the seating space, but otherwise as different as any two cars could be.  Symbolic much? 

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Ok, y'all are making me really want to rewatch the whole series, since I haven't seen it in years.

Hee! Then our job is done! Truthfully, some of these shows from the early 80s are soooo much better than the crap we have today.

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There was a time in my early twenties where I was constantly re-watching this show.  I think it had just gone into local syndication.  I used my VCR to tape it every day until I had all the episodes.  Eventually I would just grab a tape and marathon six episodes at once.  I was beyond thrilled when it came out on DVD but I think since then I've only watched it once. Every once and a while I find myself over on You Tube playing the best of clips. 

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I find the best time to rewatch my shows on dvd is during the summer hiatus! Which is what I plan to do with this show. Mega marathon watching coming up! It is sad that a LOT of my peoples like  you guys live across the country otherwise I'd have y'all come over, so we could watch while drinking some very good wine...or champagnee...you get the idea...

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Watched "Molten Steele", "Dreams of Steele" and "Woman of Steele" yesterday, and boy, no matter how many times I watch "Woman", I cringe because Cassandra Harris was such an awful actress. Her whole character...I mean, all her lines...totally flat. No emotion, no, nothing. And I know that she was Brosnan's real life wife, but man, Brosnan and Zimbalist had more sizzling chemistry than Brosnan and Harris.

 

"Dreams of Steele" will never not be funny. Though I do have to wonder how Laura was still conscious, after Steele axed the window to release her from the water and those snakes.  Her mouth didn't stay closed, and I kept thinking, eww, she's swallowing all that water, when she was talking, hitting the window, trying to get Steele's attention.

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"Dreams of Steele" will never not be funny. Though I do have to wonder how Laura was still conscious, after Steele axed the window to release her from the water and those snakes.

 

Even though she couldn't get out, she could get air up at the top, in the void between the water and the locked cage door (I believe we're to assume that's where she keeps disappearing to, so that at first she's not there whenever he happens to look).  And my best friend and I used to have underwater conversations all the time; we didn't swallow the pool.  :-)

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Random observation: Although this was not my first time watching multiple episodes in a row, this was my first time noticing this season contains a run of three or four episodes in a row in which the Rabbit is damaged.  I can't imagine Laura's insurance premiums.  (Of course, in reality, her insurer would have totaled it out after it got submerged in Small Town Steele.)

 

An old observation: Major Descoine was a terrific recurring villain, and the show really dropped the ball in not going to that well again at some point; his daughter (Minor Descoine, as I like to call her) should have broken him out of prison in some way, and off we'd go.

 

Another one: Maryedith Burrell as Frances Piper is just delightful.

 

Also, I'm sure you all know this, but I laugh (and cringe in sympathy) every time I watch it that Stephanie really is shaking a water snake out of her hair in Dreams of Steele.  I love the A.D.'s recollection of shooting that portion of the scene (where Laura is at the window, Steele finally sees her, and breaks the glass) -- Stephanie (consummate professional and game for anything) yelling, "Janet, roll the camera and get me out of here!"

 

This is a great season.  There are certainly those I don't enjoy as much as the rest (My Fair Steele, Blood is Thicker Than Steele, Steele Knuckles and Brass Jaws), but that's true of any season, and I do still enjoy them.  And so many episodes I love: Red Holt Steele, the two Descoine episodes, Love Among the Steele, Steele Sweet on You, Dreams of Steele ... (Woman of Steele would be on this list had they cast someone other than Cassie as Anna).

Edited by Bastet
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There are certainly those I don't enjoy as much as the rest (My Fair Steele, Blood is Thicker Than Steele, Steele Knuckles and Brass Jaws),

 

That just means you haven't watched them enough to get past the parts that make you cringe.  ;)  And honestly, doesn't the "bubababoom... ba bup ba boom" interlude with Steele and the baby really make up for anything else? 

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It was't the baby that left me gooey. :D

Setting aside a lot of crying baby, I did like that episode because of what we found out about Steele's past. It was an interesting insight to who he was and where he'd come from.

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Like I said, I enjoy those episodes I listed; they're just the weaker ones for me because the season is so strong.

 

With this one, it's mostly the time spent on what's going on with the two gangsters that knocks it down a notch for me.  The boxing match is also covered more than it needs to be.  Max is a decent enough character for one of the few black people they ever managed to put on this show, and the glimpse into another one of Steele's identities is nice.  And I like the switching back and forth between the two boxing battles at the end.

 

I liked Steele better when he was annoyed by the baby's crying, and especially his look of total disinterest when Laura tries to show him the baby (when they're all in the locker room in the beginning), than when he was singing to him.  (To the first two, I can relate.)  I like how Laura lets him know she heard, though. 

 

Doris Roberts played the facial expression perfectly when Mildred arrives at Laura's to find Miss Holt in a bathrobe accompanied by Mr. Steele, two random men, and a baby.

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I can't believe I'd forgotten how good, so very good that "Come Steele Away With Me" is.  Yes, I finally finished and put away my Smallville set and plopped this show to watch now.

 

I'm a romantic at heart, so I grinned foolishly and felt butterflies in my tummy when in the honeymoon suite, out of frustration, Steele stalks up to Laura, tells her he cares for her and then just pulls her into a kiss. I won't lie--my tween/teen heart that gobbled up romances just exploded. And then she pulls away and tells him she's scared.  And I especially loved all the Notorious references, as that is one of my, if not THE favorite movie of Cary Grant.

 

If there is one thing that disappoints in "Red Holt Steel" I think it was, is the sudden transformation of the tough nut that is Mildred into the adoring, idol loving woman of Steele. I pride myself on my memory, but for some reason, don't remember her first appearance. But the talk about how Laura is to be considered Steele's equal in "Red Holt Steele" seems not to have happened by the end of "Altared Steele."

 

And boy did I start tearing up when Laura was talking about why they had to burn her house, and mourning the loss of both Murphy and Bernice. Though I have to say that the beginning of that scene, when Steele hears Laura crying? That was...not very good. It seemed to me that Stephanie wasn't able to make it sound genuine. It sounded fake. But once she started talking and then broke down and went into his arms, the emotion and making it look real were there. And those last two lines?

 

Laura: "Tonight, if you asked me... I don't think I could say no.."

 

Steele: "Tonight, I don't think that I could ask."

 

Me: SIGH...

 

Okay, I have to go eat lunch now and take my meds and do some last minute grocery shopping. And then sit back and enjoy my show.

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I agree on the initial crying; it sounds like it was dubbed in.  Otherwise?  Perfection.

Yeah, I'm not even certain if it was SZ doing the crying, lol. 

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Steele: "We're being shot at."

Laura: "But why?"

Steele: "Because we're kissing! Someone always shoots at us when we're kissing!"

"Love Among The Steele"

I loved that scene! So many funny moments!

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Steele: "We're being shot at."

Laura: "But why?"

Steele: "Because we're kissing! Someone always shoots at us when we're kissing!"

"Love Among The Steele"

I loved that scene! So many funny moments!

Ah ha!  Finally the real reason why they were reluctant to finally do the deed.  If they got shot at just for kissing, imagine what they'd have to dodge for full on bow chick a bow wow!

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I have to agree with Bastet that this season was a very strong one. The best, I think. Aside from two clunkers, meaning, they weren't as good; but for the most part, you could see Steele and Laura heading toward...something, and to let it still remain, if not unresolved, but not take it to the next level is very disappointing.

 

And I disagree with both Zimbalist and Gleason that I wanted these crazy kids to get married (I didn't as she posited some wanted), nor do I agree that getting them together (huh? They already were to a major extent) because the fizzle or sizzle or whatever he said would be lost.  I just wanted them to get to the next level-that of lovers, and the reasons Gleason provided is such a copout.

 

I really also hate the way the dvds are laid out; that is I don't have an option to "play all the episodes" as most dvds do. You have to choose one at a time, and when an episode is over, you have to click to the main menu to get back to the list of all episodes. Very aggravating.

 

I suppose I wanted to also hear more from Pierce in the interviews than we do. We get a lot of Doris and Stephanie, and of course Gleason, the writers, producers, directors. But just a line here or there from Pierce? Whatever. It's the same deal with Smallville, where there is like 1%, if that of interviews with its main star, as opposed to hearing from others, and specifically when certain episodes are hyped and were centric to the main star. Not that I'm saying that Pierce was the main star, but there wouldn't have been a show if we didn't have him, now would we?

 

I appreciate that Stephanie said they worked hard, and as a result, things weren't blissful "all the time."  And she actually praises Pierce for his skill in using his entire body when he does the phsyical comedy.  And Stephanie gets a lot of the deserved praise we've all talked about here, as well.

 

And I am SOOOO glad that Doris got the part of Mildred when I saw that Gleason originally wanted a 30-something hottie to "make sparks with" Remington. Really? Like the jealousy of Murphy of last season, even if it didn't reach the levels of horrid triangles of today, wasn't bad enough. I'm soooo glad that Doris presevered and won him over.  And my respect for Doris goes even higher because I didn't know she'd lost her husband during the year she started, and everyone was supportive, but you wouldn't know she had gone through such a loss.

 

I think I would have preferred if "Woman of Steele" had been the season ender instead of "Elementary Steele" which, frankly, I found a dud. Hell, any episode that features that actress, who is, Gleason's wife? a dud. So much overacting.

 

Speaking of which. I know we've, well, I've talked about what a wooden and not good actress Cassandra Harris is, but I paid close attention this time and it's really bad. Or maybe it's intentional. When she's telling Steele how Merlowe? is blackmailing her, chasing her. After each statement, which has no affect whatsoever, she looks up at Steele, as if to gauge his reaction. It was the way she would lower, then raise her eyes...I could tell she was counting the beats, as if saying to herself, lower, wait a second, raise.

 

And it's purely a personal thing with me and I can't explain it, but when she's waiting for him in his apartment and confesses she is indeed Anna and kisses him, that smear of gloss or sheer lipstick that remains on his upper lip, just grosses me out. Makes me want to just reach into the television and wipe his mouth with a tissue.

 

And even if Steele hadn't said "I love you" to Laura's hallucination in the following season, no one will convince my tween self that he didn't already love her in this season. What convinced me was "Steele Threads" when Carl shot Laura in the back (but we learned the jacket was some sort of silicone kevlar) and he thought she was dead. His grief and words. Yep, that's a man in love right there.

 

But then they had to undo ALL of the GOOD the next season. Which I started to watch late last night and I'm already peeved.

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I appreciate that Stephanie said they worked hard, and as a result, things weren't blissful "all the time."  And she actually praises Pierce for his skill in using his entire body when he does the phsyical comedy.  ...

 

And I am SOOOO glad that Doris got the part of Mildred when I saw that Gleason originally wanted a 30-something hottie to "make sparks with" Remington. Really? Like the jealousy of Murphy of last season, even if it didn't reach the levels of horrid triangles of today, wasn't bad enough. I'm soooo glad that Doris presevered and won him over.  And my respect for Doris goes even higher because I didn't know she'd lost her husband during the year she started, and everyone was supportive, but you wouldn't know she had gone through such a loss.

I know that first point gets discussed to death in these forums. But all these famous pairs that we want to believe were secretly snarling at each other (Zimbalist/Brostan, Astaire/Rogers, Shepherd/Willis)... my own belief is that both sides are true, in different ways. Yes, in the moment, working hard, things weren't blissful all the time (and some of the professional jealousies probably had their truth too at the time, one of the two getting seemingly disproportionate attention, or getting a professional boost that the other didn't, or whatever). But later, looking back at it all, there's also genuine pride in what they achieved together, and genuine admiration of the other partner's skills and qualities.

 

I remember that at the time, Doris Roberts getting cast in the show was especially gratifying because just the year before, she had made a guest appearance on St. Elsewhere that won her praise and an Emmy (Best Actress in a Drama, as there weren't guest categories then) as a homeless miserable woman who eventually suffered amputation. I don't say she didn't play it well, but it wasn't what I valued Doris Roberts for (and it's the sort of gesture that automatically gets awards) and I feared that it would trap her in a wrong identity on TV when she was so special in comedy, if only viewers knew it. Then she got to be Mildred, and all was well.

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I know that first point gets discussed to death in these forums. But all these famous pairs that we want to believe were secretly snarling at each other (Zimbalist/Brostan, Astaire/Rogers, Shepherd/Willis)... my own belief is that both sides are true, in different ways. Yes, in the moment, working hard, things weren't blissful all the time (and some of the professional jealousies probably had their truth too at the time, one of the two getting seemingly disproportionate attention, or getting a professional boost that the other didn't, or whatever). But later, looking back at it all, there's also genuine pride in what they achieved together, and genuine admiration of the other partner's skills and qualitiesl.

See I never thought that Stephanie and Pierce didn't get along. Quite the opposite until someone over at TWoP mentioned that they "couldn't stand each other" or something like that. I recall stating that I couldn't tell and I had never heard of anything about non stop friction. That's why when Stephanie said what she did, well I felt vindicated, if you will about not believing that about them. Pierce also said one of the reasons he felt they got on so well was because they both came from theatrical backgrounds and they appreciated each other. That was the point of my original comment.

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I think the truth is more in the middle. I recall reading an excerpt on Amazon of Doris Roberts' book, and she had made a point to talk about how much more enjoyable the Everybody Loves Raymond set was because of lack of tension, etc. I'm not saying Pierce and Stephanie were making voodoo dolls of each other; I just don't think it was all rainbows and puppies, either.

 

But working for so many hours a day, I guess tension is only a natural byproduct.

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I think the truth is more in the middle. 

That's what I was trying to say in my convoluted way. Or rather, that both extremes may have had their truth at different times, but that the negative side certainly isn't the whole truth.

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I think the truth is more in the middle. 

 

 

That's what I was trying to say in my convoluted way. Or rather, that both extremes may have had their truth at different times, but that the negative side certainly isn't the whole truth.

 

 

Same here. What I was trying to say. Plus, you add in that both Pierce and Stephanie did most of their own stunts and that the hours of a work day increased with each season, of course there will be tension. Stephanie also said it-- It wasn't "bliss" all the time, and that tempers flared. That kind of stuff happens in real life as well.

 

It's not like, say, William Frawley and Vivian Vance who couldn't stand each other, yet were professional enough to do their jobs.

 

Or Teri Hatcher saying that she and Dean Cain worked well together, but that didn't mean they had to be best friends on Lois and Clark.

 

And now I've veered totally off-topic.

 

I just find this season to be the strongest.

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Same here. What I was trying to say. Plus, you add in that both Pierce and Stephanie did most of their own stunts and that the hours of a work day increased with each season, of course there will be tension. Stephanie also said it-- It wasn't "bliss" all the time, and that tempers flared. That kind of stuff happens in real life as well.

 

It's not like, say, William Frawley and Vivian Vance who couldn't stand each other, yet were professional enough to do their jobs.

 

Or Teri Hatcher saying that she and Dean Cain worked well together, but that didn't mean they had to be best friends on Lois and Clark.

 

And now I've veered totally off-topic.

 

I just find this season to be the strongest.

I never got the impression that PB and SZ had big personal issues with each other, more that there was some professional disappointments since SZ was sold the part originally as the sole lead and then it morphed into a two hander and then Brosnan was the one getting more attention and praise which caused some tensions at times.  Toss in the normal weariness of ridiculously long hours and sure, they're be the occasional tense moment that you know the "insiders" can't wait to blow up into something much bigger. 

 

By the end of the show I'm positive that the only one either of them hated was the studio that kept yanking them around. 

 

 

 

I think the truth is more in the middle. I recall reading an excerpt on Amazon of Doris Roberts' book, and she had made a point to talk about how much more enjoyable the Everybody Loves Raymond set was because of lack of tension, etc. I'm not saying Pierce and Stephanie were making voodoo dolls of each other; I just don't think it was all rainbows and puppies, either.

 

But working for so many hours a day, I guess tension is only a natural byproduct.

Helps that ELR was a half hour comedy ensemble show made a decade later.  The hours and burdens had to be hugely different.  Of course in the end, I hated ELR and loved Remington Steele so if a bit of pain is what's needed to make good TV, let them bleed.  ;)

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And even if Steele hadn't said "I love you" to Laura's hallucination in the following season, no one will convince my tween self that he didn't already love her in this season. What convinced me was "Steele Threads" when Carl shot Laura in the back (but we learned the jacket was some sort of silicone kevlar) and he thought she was dead. His grief and words. Yep, that's a man in love right there.

 

I LOOOOOOOOOVED that scene.  Really, that whole episode.  Yeah, I'll accept that he was in love with her.  :D 

Red Holt Steele does the trick for me as well. 

 

I did watch the show from the second season on when I was a kid but only remembered bits and pieces.  A few years later when it was on as reruns, that's when  I started constantly watching it  (and rewatching - VCR was my friend!)  and I swear at first the episodes bounced around in order.  I didn't know where I was in the seasons at first or what happened when.  It wasn't until it reset to the first season that I realized the official order. I would have sworn Steele saying he was in love with Laura happened in the second season, lol.   Still, there's stuff in the first season that I'd happily accept as well as proof he was in love.   

 

I think Laura's resistance said a lot about her feelings.  I think she spent more time in denial though than Steele. 

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And here's a question that came up during this latest rewatch, which I wonder didn't hit my brain when I watched the shows as an adult during syndication: Steele's failure to file taxes.

 

He tells Mildred that he didn't file on that year, but Laura created Remington Steele, like, three or four years previously. It's really hard to know-there was a continuity gaffe in Season One--in "In the Steele of the Night." Murhpy mentions how it's been four years since they left Havenhurst, which means that if they are their true ages, 26ish, that would mean Laura went their right after college and then after laeving Havenhurst created Remington Steele. But from the opening credits, I got the impression that she was on her own for at least a little bit and from the premiere, that "Remington Steele" had been around for more than a year, based on his reputation. Or maybe I am just overthinking things?

 

Ahem. So. Why wouldn't Laura file tax returns for "Remington Steele" before Pierce showed up? She actually said to him that she never filed taxes for him before, and wouldn't the IRS have caught this then? Or should I not think too hard and just go with it?

 

I guess these questions pop up, because otherwise, it's such a good show, where I don't question a lot of things, that the simple and basic things that are overlooked, stick out. Does that make sense?

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Somewhere it's said that her agency under her own name folded after just six months.  Or a year, and the six months is the time in between when Remington Steele Investigations was created and "Steele" showed up?  Because then it's said she's been with Remington Steele Investigations for a certain length of time (a year and a half?), and that lets you do the math as to how long she pulled off the scheme before he showed up.

 

When Murphy is resistant to keep going with the case they're on when "Steele" shows up, saying they always bow out if a client starts getting really fussy about seeing Steele, Laura says it's exactly the kind of case she created this charade in order to attract, and that the fees can give a huge boost to the bottom line, prompting Miss Wolf <g> to touch on all their expenses.  So I think the agency is still fairly new (in its first year, maybe) at the time.  But I'd have to go back and find the episode when the timeline is discussed to crunch the numbers again ... and then I'd have to see if that is contradicted by anything said in another episode, because I think it might be.  (As usual, we care far more about continuity than anyone writing the show.)

 

As for By the Book Laura Holt not giving any thought to the tax situation when she created a fictitious person, one must indeed just suspend disbelief.  As one must do with anything surrounding the agency's official documents and books, really.

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Thanks Bastet.  After reading your reply, I do recall seeing those conversations. But for some reason, I always thought that Laura's "Remington Steele" Agency had been around for at least two years.

 

But then there's this:

 

 

(As usual, we care far more about continuity than anyone writing the show.)

 

As for By the Book Laura Holt not giving any thought to the tax situation when she created a fictitious person, one must indeed just suspend disbelief.  As one must do with anything surrounding the agency's official documents and books, really.

 

 

So true about the first part. But this show was so very good at not having continuity issues (referring to previous cases from previous seasons, or the current one and the results, etc.) that when it did goof, it stood out for me.

 

Yes, I have to remember to suspend disbelief when things that Laura wouldn't let happen or wouldn't do take place.  

 

Confession: With the crappy shows of late, I'm finding I just want to rewatch this show over and over again, because Laura is my definition of a hero, and the characters on this show act like adults and not petulant, angst-ridden teens. And nor do I have to suffer ridiculous "triangles." Tony and Season Five don't count, because I don't include it as part of the four year run of this show.

 

I guess I've turned into a fuddy duddy.

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Didn't Laura file all the taxes for the Agency but hadn't for him personally? Steele points out that he didn't make any kind of salary but Mildred says he was paid "in kind" in the form of perks like the apartment. So the apartment and the limo were considered his salary by the IRS but at the same time Laure was writing them off as a business expense. It's taxes so, yeah, makes my head hurt a bit.

Still my biggest question is how DID he pay taxes when he wouldn't have had a Soc Security number?

I did some research on when it became mandatory for anyone claimed on taxes to have a number and IIRC it was around 1987 or 88. (After that it was much more suspicious not to have one from birth for citizens) but I wonder how hard it would have been back then to get a number assigned? I wonder what kind of documents they would require as proof of residency.

Actually, now that I think of it, would you need a Soc Sec number to pay taxes? I keep hearing about undocumented immigrants that still paid all their taxes...so how?

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Actually, now that I think of it, would you need a Soc Sec number to pay taxes? I keep hearing about undocumented immigrants that still paid all their taxes...so how?

 

They have an Individual Taxpayer Identification Number issued by the IRS (requires application and documentation establishing identity and alien status).

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Okay, here is more continuity confusion? Or maybe not? I dunno. I'm going for yes, because I got the sense that Laura and Murphy were at Haverston for more than a couple of years, and were detectives instead of just apprenticing, but here you go:

 

In "Dreams of Steele", when Laura and Remington are in that casket that's been put in that thingamajig to be cremated, Laura says, that this is what ends up happening after "four years of college, two years of apprentice and three years of building up her own agency" (though I'm not sure about the word for word about the the last sentence.  This clarifies, for me at least, that before Remington showed up, Laura's "Remington Steele" agency had been around for at least a year.

 

Yes, I have been watching again.

 

What?

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I'm glad you watched that one, because I knew there was a contradictory timeline in there somewhere.  Maybe the first one - with X years at Hayvenhurst, X time running her own agency before it folded, and X years with Remington Steele Investigations - was in Red Holt Steele?  Because it's a bad guy talking to his fellow bad guys about what he dug up on her, and it would make sense for it to be that episode, if they traced the Rabbit's license plate to find out who this woman recording them was.

 

I know it would be a terrible hardship for you to watch that one again and find out.

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I'm glad you watched that one, because I knew there was a contradictory timeline in there somewhere.  Maybe the first one - with X years at Hayvenhurst, X time running her own agency before it folded, and X years with Remington Steele Investigations - was in Red Holt Steele?  Because it's a bad guy talking to his fellow bad guys about what he dug up on her, and it would make sense for it to be that episode, if they traced the Rabbit's license plate to find out who this woman recording them was.

 

I know it would be a terrible hardship for you to watch that one again and find out.

 

 

Oh yeah. I don't know if I can muster up the energy to watch Red Holt Steele again--I mean, those emotional packed moments between Laura and Remington in his apartment after she loses her home, his concern and frustration over how she won't take a moment to rest before trying to figure out what happened and then leaves, and doesn't hear her soft apology...the way the episode ends with Remington walking down the street as he hears Laura play the piano. It's not one of the stronger, or even best episodes of the season. It really will be a struggle to watch it again. But, if I must, I must. Sigh...

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Okay, here is more continuity confusion? Or maybe not? I dunno. I'm going for yes, because I got the sense that Laura and Murphy were at Haverston for more than a couple of years, and were detectives instead of just apprenticing, but here you go:

 

In "Dreams of Steele", when Laura and Remington are in that casket that's been put in that thingamajig to be cremated, Laura says, that this is what ends up happening after "four years of college, two years of apprentice and three years of building up her own agency" (though I'm not sure about the word for word about the the last sentence.  This clarifies, for me at least, that before Remington showed up, Laura's "Remington Steele" agency had been around for at least a year.

 

Yes, I have been watching again.

 

What?

I can fanwank it away.   She was listing things she thought were productive (if time consuming) actions.  Once she was done apprenticing at Havenhurst any time she spent working for them but not getting anywhere would NOT be productive and therefore not worthy of a place on her list.  Note that there is no mention of her failed agency in that list either. 

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AHA! The continuity gaffe took place between first season and second season! Because in the fourth season, "Forged Steele" I think it was, Laura's statement to Remington about how long she's had her agency lined up with what those murdering corporate thugs said in "Red Holt Steele.".

Here, the guy said that she was at Havenhurst for three years; that her own agency did fold within six months, but that for the "past 3.5 years", she has worked at Remington Steele. Which contradicts Murphy's statement last season that it had been "four years" since they left Havenhurst. And of course in "Forged Steele" she said she's had her agency for "six years" which matches up with the timeline.

I have to tell you, it was such a chore having to watch "Red Holt Steele" again to confirm this, if only because small stuff like this irritates me.

And I know we've all agreed about the perfect scene and words spoken after Laura's house has been blown up, but I also really liked what Remington said to Laura when they were at his condo after Laura learns their client was threatened...Laura is moving, talking, trying to call Mildred and Remington's trying to get her to stop for a moment.

"Laura, stop for a minute. You've just been through one bloody hell of a shock."

"I'm all right!"

"Well I'm not and I've still got a place to call home! Look, we're exhausted, we reek of smoke. There's a shower in there. Use it. You'll find some fresh clothes in the closet. Stretch out on the bed for an hour or two. Can you do that?"

"I'm not running from this."

"So don't run, but at least have the common decency to stop and take a breath, woman!"

That has to be my second favorite scene of this episode. After Laura then lashes out that this isn't his problem, he leaves, and she whispers "Sorry.". Just wonderful.

Edited by GHScorpiosRule
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And what a BREATH OF FRESH AIR! to have this back, if only for the summer on MeTV!!! Brosnan really was underrated for his comedic talents. Not just the physical, but the way he moved and tilted his eyes, when telling Laura the worth of the two-karat, marquis cut of the diamonds they discovered in "Come Steele Away With Me," the second season opener, which is the season they've decided to premiere with, instead of the first.

And poor Pierce Brosnan! It's clear he had a cold when they filmed this!

I'm watching, impatient for that KISS!!!?? that Steele lays on her once he follows her to Mexico!???

This show is a very nice palate cleanser after the ridonkulousness of other shows that don't know how to write romances and relationships.

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15 minutes ago, GHScorpiosRule said:

d what a BREATH OF FRESH AIR! to have this back, if only for the summer on MeTV!!! Brosnan really was underrated for his comedic talents. Not just the physical, but the way he moved and tilted his eyes

This so much.  I've seen some of that kind of thing come out in the character he's doing on The Son on AMC now.  And that character (Eli) is about as far from Steel as you can get, but Brosnan, when given the chance to relax into a character, he pulls these lovely looks and small mannerisms and micro expressions that are just so entertaining to watch. 

Bond did great things for his exposure but I think Bond also sort of robbed him of the chance to play a more laid back and playful character.  Steel just has so much more warmth and fun to him.  You want to smile when watching him.  

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6 minutes ago, BkWurm1 said:

This so much.  I've seen some of that kind of thing come out in the character he's doing on The Son on AMC now.  And that character (Eli) is about as far from Steel as you can get, but Brosnan, when given the chance to relax into a character, he pulls these lovely looks and small mannerisms and micro expressions that are just so entertaining to watch. 

Bond did great things for his exposure but I think Bond also sort of robbed him of the chance to play a more laid back and playful character.  Steel just has so much more warmth and fun to him.  You want to smile when watching him.

I know! And I just realized I have this great big grin on my face as Steele and Laura discovered that bull!??

Dammit! Now I have to wait until tomorrow to see them running around while it chases them! Wait. No, bull chases that "insurance agent" while Steele and Laura question him.??

And the kiss he lays on Mildred!???

But THAT kiss between Steele and Laura will be on tomorrow!?

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1 hour ago, GHScorpiosRule said:

And the kiss he lays on Mildred!???

Ha!  I remember at the time I thought Mildred was A LOT older than she really was. (And they dressed her so awful in that first episode, lol)  I was horrified he smooching someone's grandmother.  

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26 minutes ago, BkWurm1 said:

Ha!  I remember at the time I thought Mildred was A LOT older than she really was. (And they dressed her so awful in that first episode, lol)  I was horrified he smooching someone's grandmother.  

As horrifying as it was, it was hilarious at the same time-what with Steele's desperation on full display!??And then his explanation how the IRS investigator was now his "wife."???

That said, I did love how he goes from evasive and teasing, to seriousness when he sees "insurance agent" go after and follow Laura. It's the small things, you know?

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I love the two-hour Acapulco premiere for many reasons, one of which is the brief "why Murphy and Bernice are gone" exposition, when Steele - after Laura says Murphy moved to Denver and opened his own agency - remarks that he works closely with the coroner's office.  Knowing that James Read wanted to either leave or be given more to do than read autopsy reports, I howl at that.

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after Laura says Murphy moved to Denver and opened his own agency - remarks that he works closely with the coroner's office.  Knowing that James Read wanted to either leave or be given more to do than read autopsy reports, I howl at that.

Now that is some old school shade.

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It really is, but it doesn't come off as petty given the way Gleason always praised Read as an actor and said he completely understood his feelings -- he'd have written more for him if he could, but that's just not how the show was going, so if he wanted to leave, he couldn't blame him.

It kind of sucks for Janet DeMay, who got thrown out in the retooling, but I think Doris Roberts was a great addition to the cast, and I'm glad Michael got over his initial ideas of who the new character should be and hired her.

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"DAMMIT Laura, I care about you!" and Steele grabs Laura's face and kisses her passionately and she returns it. There is frustration in that embrace, before Laura breaks it and moves away.

SIGH...❤️?????❤️

And not only do we get a Maltese Falcon reference, but also Notorious, my absolute FAVORITE Cary Grant movie! And in the background, the theme to James Bond, as Steele is trying to evade the local police so he won't be extradited to Mexico City!????

I truly believe it's Pierce Brosnan that makes the tux look good. I swear, my insides melt whether he's wearing the traditional Tux, or the one here, black tie, but white slacks and jacket. Is that White Tie? Because I thought the tie had to be white!?

And how they keep getting interrupted by THREE bands when he's telling Laura about the heist!????I sometimes wonder if that's actually Stephanie and Pierce laughing or their characters.

Man, I really ❤️❤️❤️this show!!

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"Red Holt Steele" was on today!!!!???

I've already quoted the BEST lines from this one upthread, so what I will say about this is I love how Steele calls Laura "Woman!" out of frustration when she's in denial about losing her home. Though I believe I posted that conversation in the quotes thread. It's such a good episode for him-you can see how much he cares and that there's barely any of his flirting glibnes and disregard that it's Laura who IS the agency. Except for the start of the show when Mildred and Laura are at odds.

And this made me smile; okay it made my insides curl:

"Zenos."

"That wouldn't happen to be your name, would it?"

"It's Greek for 'stranger.'l

"Figures."

And whatever happened to Laura's kitty? It didn't get killed in the bomb blast, did it??

And how PERFECT was the ending? With Steele looking up at Laura's loft as she's playing the piano and then he walks away.

SIIIGH...

Edited by GHScorpiosRule
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4 minutes ago, GHScorpiosRule said:

And whatever happened to Laura's kitty? It didn't get killed in the bomb blast, did it??

No, Nero was outside, and not only survived the blast, but was found - she left him to stand guard in the loft, heh, and he was sitting on the piano when she came home and found it.

Unfortunately, subsequent writers forgot he existed and we never saw him again.

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1 minute ago, Bastet said:

No, Nero was outside, and not only survived the blast, but was found - she left him to stand guard in the loft, heh, and he was sitting on the piano when she came home and found it.

Unfortunately, subsequent writers forgot he existed and we never saw him again.

D'OH! ??‍♀️??‍♀️I totally forgot and looked away for a minute and missed that! And sorry for forgetting your name, Nero!

I hate when shows have its characters have pets, show them only once, and then forget all about them.?I'm sure Nero could have helped Laura in that episode where she was being stalked by her new landlord/manager Jessica Fletcher's nephew, Grady!

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