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Rick and A.J. Simon (Simon & Simon)

Created by Philip DeGuere

Ever wonder what would happen if the HARDY BOYS grew up?

At least a little bit?

Squabbling siblings and San Diego private eye brothers RICK and ANDREW JACKSON “A.J.”  SIMON attempted to answer that question every week for seven seasons on Simon & Simon, one of the eighties’ more popular detective series.

Me? I could never quite get into it. Slick, glib. Fluff. Maybe Fenton shoulda taken ’em behind the woodshed more often.

But millions of people loved it.

Rick (Gerald McRaney) was the older of the two, the one with the cowboy hat. He was the theoretical wild card; the street-smart one with the rough edges, and some bad memories from his two tours of duty as a Marine in Vietnam. He’s cynical, a bit of a scrapper, and perfectly content to live his life on his boat, Hole in the Water, and drive his beat-up, big-ass pickup truck. He favored jeans, cowboy hats and cowboy boots.

He was pretty much the complete opposite of his slick-as-spit brother, cutie-pie yuppie A.J. (Andrew Jackson), an idealistic, ambitious former law student and current suit who thinks of himself as refined. He listens to classical music and opera, dresses in expensively tailored suits and ties, enjoys fine wine and french cuisine, and favors classic cars (including at one point a 1957 Chevrolet Bel Air convertible). He’s the good one, responsible and successful enough to own waterfront property.

Which is where Hole in the Water is parked… on a trailer. Rick lives on it with his dog, Marlowe (named after you know who), a large, unruly mutt (actually an Anatolian Shepherd).

Forgetting for a moment that, despite the boots and the pickup, only on television would anyone really buy Rick as a tough guy, or that A.J. as actually all that refined, the show had an amusing premise. But the big differences were hardly on the level of, say, Oscar and Felix of The Odd Couple — more on the level of Fred and Barney, if you ask me. Still, some of their bickering was amusing, and McRaney and Parker were affable and easy enough to watch.

The scripts, alas, were for the most part merely serviceable. Not that there weren’t a few interesting shows.

Struggling in its first season, the show was almost canceled, until executive producer and creator Philip DeGuere suggested CBS move it to a Thursday night slot immediately following Magnum, P.I. CBS agreed, and Simon & Simon’s second season kicked off with a two-hour crossover episode with a story that began on Magnum  (already a rating blockbuster) and concluded on Simon & Simon with “Emeralds Are Not A Girl’s Best Friend”. The scheduling change worked, and Simon & Simon became a top ten show for the next several seasons.

In “The Shadow Of Sam Penny,” A.J.’s idol, a famous private eye (Sam “The Man Who Wrote The Book” Penny) hires the Simons to help crack a thirty-year old cold case. It’s a moderately witty homage to Hammett’s The Maltese Falcon, but they get extra points for including Elisha Cook Jr. (he played the gunsel in the 1941 film version) in the cast. Robert Lansing, as Sam Penny, returned in “Reunion At Alcatraz,” to enlist the boys’ help once more, this time to track down the only con to ever escape from Alcatraz, over twenty-five years ago. And a few episodes were scripted by various crime novelists, including Ross Thomas, Thomas Perry and Howard Browne, who adapted his own 1948 novel, Thin Air (not the first time that puppy’s been walked around the block).

But for every moderately intelligent script there were plenty of gimmick shows and “very special episodes.” In “The Apple Doesn’t Fall Far From The Tree,” Rick And A.J. head to Boston to track down the family tree, and end up discovering the stories of various Simons brothers throughout American history–all played by McRaney and Parker, of course.

The boys got to play dress up again in “Play It Again, Simon, wherein A.J. tracks down a long-lost manuscript by his favorite detective novelist, allowing the cast to play out a 1940’s detective story. Didn’t they do this on Magnum, too?

Then there’s the almost obligatory-for-the-eighties Vietnam flashback show, “I Thought The War Was Over,” co-written by McRaney himself. War is kinda bad, you know.

And there was “Second-Story Simons,” the James Bond spy spoof (complete with appropriate music) with Rick and A.J. trying to swipe some top secret plans from the Yugoslavian Embassy.

But the absolute nadir has to be the 1983 episode, “The Bare Facts,” where the boys go undercover in a nudist camp. We expect this type of thing from Shell Scott, but don’t ask us to weep one week at the horrors of war, and giggle the next because someone drops their trousers.

Still, the show turned out to be one of the most popular P.I. shows of the eighties. Obviously, there were a lot of people far more charitable than I was to the show, and it was popular enough that at least one made-for-TV movie was released in the nineties, reuniting the cast. By all accounts, it did okay in the ratings.

The show’s creator (and executive producer for its first four seasons) was Philip DeGuere, who got his start writing for such Huggins/Cannell shows as Alias Smith and Jones, Baretta, City of Angels and Magnum P.I., before moving into production in the eighties. His biggest success was undoubtedly Simon and Simon, for which he served as executive director and head writer, although he also was involved production-wise with Whiz Kids, the revamped Twilight Zone and Max Headroom. He also continued to write for television, most recently for JAG, The Dead Zone and Navy NCIS. He also devised a computer system for tracking daily production of a TV series that has become an industry standard, and which may explain some of those rather formulaic scripts for Simon and Simon and Magnum — good premises frequently done in by cookie cutter scripts, if you ask me.

UNDER OATH

CARS, CARS, CARS

TELEVISION

FURTHER INVESTIGATION

THE DICK OF THE DAY

Respectfully submitted by Kevin Burton Smith. Thanks to Amanda for her help with this one.

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