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Charlie’s Angels

Sabrina Duncan, Jill Munroe, Kelly Garrett, Kris Munroe, Tiffany Welles, Julie Rogers, Natalie Cook, Dylan Sanders, Alex Munday, Kate Prince, Eve French, Abby Sampson, Sabina Wilson, Elena Houghlan and Jane Kanos

Created by Ivan Goff and Ben Roberts

“Once upon a time there were three beautiful girls who went to the police academy, and they were each assigned very hazardous duties. But I took them away from all that and now they work for me. My name is Charlie.”
–spoken intro to each and every show.

CHARLIE’S ANGELS was either the greatest discrepancy between quality and popularity known to television, or simply good, clean, escapist entertainment, spray-painted with seventies-style female “empowerment.”

It did have a sort of style, I guess: the slick music and the sharp clothes of, say, Peter Gunn, replaced by the hairspray, the nipples and the crazed rapist-of-the-week. But this was, more than anything, the “archetypal jiggle show.” It was really awful, really.

Or awfully fun.

The premise was simple enough: three female police academy grads from Los Angeles, bored with the dull, non-challenging duties so many policewomen were saddled with at the time, are recruited by the mysterious but wealthy Charie Townshend of Townshend Investigations to be his operatives.

Dashiell Hammett this ain’t.

Me? I’m still not convinced it was any kind of real blow for sisterhood, or any kind of improvment on the image of women, as the cast and crew originally, laughingly contended. The Angels’ chief M.O. was to go undercover, which meant that over the course of the series they went incognito in such shockingly non-traditional female roles as fashion models, inmates in a women’s prison, playmate centerfolds, nurses, massage parlour workers, exotic dancers, figure skaters, beauty contestants, stewardesses (Oh, sorry. “Flight attendants”), cheerleaders and of course call girls. As Max Allan Collins quipped in The Best of Crime & Detective TV, they did “more damage to the cause of feminism than the Susan B. Anthony dollar.”

Sheesh, even Barbie was a better role model. And in some cases less plastic.

It didn’t take long for even the show’s own stars to deride its blatant sexism. As Farrah Fawcett-Majors noted at the time, “When the show was number three, I figured it was our acting. When it got to be number one, I decide it could only be because none of us wears a bra.”

Well, duh…

Originally, JILL MUNROE (played by Fawcett-Majors) was the “athletic” one, KELLY GARRETT (Jaclyn Smith) was the “tough” one (a former showgirl who had been around) and by default, SABRINA DUNCAN (Kate Jackson) was the “smart” one. But Farrah’s sudden emergence as some sort of sex symbol went right to her blow-dried head, and she left the show after just one season, to be replaced by Cheryl Ladd in the role of her younger, feisty sister, KRIS. Soon, introducing a new Angel got to be an almost-annual event. The off-screen hunt for new Angels, in fact, proved to be more entertaining and more interesting than the show itself, which was coming apart at the seams. Shelley Hack came on as TIFFANY WELLES in the fourth season to replace Sabina (Kate Jackson) but she was replaced a year later by  Tanya Roberts  as JULIE ROGERS in the fifth season.

Charlie was never seen, preferring to deliver his instructions through a speaker phone (his voice was actually that of actor John Forsythe), and through his go-between, the bumbling Bosley (David Doyle), who served as office manager and purported comic relief.

Only in the final episode, when Kelly is lying in a hospital bed, recovering from a shot in the head (by an embezzler, not a TV critic, as originally suspected), do we finally get a sneak peek at the elusive Charlie. After five seasons of jiggle, at the episode’s conclusion, he dissolves the agency. A grateful nation, tired of all the off-screen drama, heaved a huge sigh of relief…

* * * * *

And we’ve come so far. In 2000, Cameron Diaz, Drew Barrymore and Lucy Liu starred in a big bucks remake, Charlie’s Angels. Sheeesh! Some cheese should just be left in an airtight container.

Though, actually, the film is actually not bad. Okay, it’s not great art, not by a long shot, but on its own terms, it works. Or, at least it’s better than the original. Then again, how couldn’t it be? Once again the “girls” battle bad guys, while Bill Murray earns a few smiles as Bosley and the action scenes are choreographed well. It was directed by hotshot music video director “McG” (Joseph McGinty Nichol when he wasn’t quite so cool). Imagine the Spice Girls, but with Kung Fu. It even coughed up a so-so 2003 sequel (Charlie’s Angels: Full Throttle), although it failed to keep the franchise going.

* * * * *

No matter how much they make you cringe, you just can’t kill some ideas with a stick. In 2011, a new television series was unleashed, promising new, “edgier” Angels.

Yeah. Edgier. Because that’s what we all want.

Smallville creators Al Gough and Miles Millar said they wanted to make the show more grounded in reality, but the newest Angels were more interchangeable than ever. KATE PRINCE (played by Annie Ilonzeh), EVE FRENCH (Minka Kelly) and ABBY SAMPSON (Rachael Taylor) were all, of course, drop-dead beautiful. I think, this being 2011 and not 1976, that one of them even had tattoos, and one of them was black (how au courant!), but I’ll be damned if I can remember which one.

At least the original series — and the movies — had a sense of Barbie doll sisterhood/empowerment going for it. You might not have believed they were private eyes, but at least you believed they were friends. The new show didn’t even have that going for it.

It’s fluff on the order of recycled dryer lint, no matter how much sand they dumped in the Vaseline. Making it “grounded and real” just highlighted how forced and lightweight the show really was — and how poorly the writers understood the appeal of the original show.

And did the world really need a hunky new Bosley? I suggest you hurry up and watch it before they… WHAT?

Nevermind. It was quickly cancelled. After only seven episodes.

* * * * *

But, like I said, some ideas just won’t die. In 2018, Dynamite Comics spewed out a monthly comic, featuring the original Angels in a short-run mini-series set in the 1970s. But don’t get your hopes up too high — whether it’s due to the artists (or more likely assorted lawyers), these Angels only bear a passing resemblance to the original line-up of Fawcett, Smith and Jackson. As for the writing? Well, how good would it really have to be?

Suffice it to say that Jill, Sabrina and Kelly are back in the game, delivering justice and saving the good ol’ U.S.A. one jiggle at a time. There’s enough nudge-nudge wink-wink and skimpy costumes to make old fans feel at home — but possibly not enough to attract “woke” ones.

* * * * *

And that’s not all. Sony is also currently promising/threatening yet another Charlie’s Angels reboot in 2019, this one to be directed by Elizabeth Banks and, presumably, all-new Angels, played by Ella Balinska, Kristen Stewart and Naomi Scott. Banks herself will be playing one of the Bosleys. Because that’s what the various reboots and follow-ups have suffered from: not enough Bosleys. The Townshend Agency is now a global security conglomerate with offices (and Bosley’s) all over the world, but the thongs remain the same. Or something. Not as good As I’d hoped; not as bad as I feared.

UNDER OATH

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Respectfully submitted by Kevin Burton Smith.

Amazon.com | Amazon.co.uk

 

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