This adventure involves a middle-aged, estranged married couple (Gene Barry and Shani Wallis) who are hired to be the principals in a filmed version of the musical "Sweet Misery". However, various accidents are happening on set that are almost killed or gravely injured. The Townsend Agency is hired by the film's producer to find the villains and hopefully save someone from being killed, and more importantly save the producer from losing his job if the movie project falls apart.
All of the Angels are game for this assignment, especially Kris: She gets hired to be a co-star of the movie herself! This is a sly way for the producers to introduce Cheryl Ladd's real-life singing-dancing training (of the Broadway/cocktail-jazz sort). Meanwhile, Kelly and Sabrina take other jobs on the movie set, and run into an assortment of eccentric characters who could be suspects, or red herrings.
The episode is low on action and suspense. Mostly, it never seems very high stakes. The relationship between the divorcing couple is played for melodrama, and adding to it is a college-aged son who wishes they would both grow up. Bosley plays backup, of course, as always. Ms. Ladd is a good singer, and if you appreciate Broadway musical offerings of a certain vintage, the performances are just fine. (If not, you'll just have to endure. The middle aged audience of the time would likely have fond memories of these songs.)
The overall episode experience is a kind of tribute to Broadway musicals, and to a lesser extent, the older mythology of the movie studio world (pre-1960s).
All of the Angels are game for this assignment, especially Kris: She gets hired to be a co-star of the movie herself! This is a sly way for the producers to introduce Cheryl Ladd's real-life singing-dancing training (of the Broadway/cocktail-jazz sort). Meanwhile, Kelly and Sabrina take other jobs on the movie set, and run into an assortment of eccentric characters who could be suspects, or red herrings.
The episode is low on action and suspense. Mostly, it never seems very high stakes. The relationship between the divorcing couple is played for melodrama, and adding to it is a college-aged son who wishes they would both grow up. Bosley plays backup, of course, as always. Ms. Ladd is a good singer, and if you appreciate Broadway musical offerings of a certain vintage, the performances are just fine. (If not, you'll just have to endure. The middle aged audience of the time would likely have fond memories of these songs.)
The overall episode experience is a kind of tribute to Broadway musicals, and to a lesser extent, the older mythology of the movie studio world (pre-1960s).