Thu 5 Feb 2015
T. H. E. CAT AND THE THIRTY MINUTE DRAMA by Michael Shonk.
Posted by Steve under Reviews , TV mysteries[23] Comments
T. H. E. CAT AND THE THIRTY MINUTE DRAMA
by Michael Shonk
Before you begin, may I suggest you read my earlier review of T.H.E. Cat here.
Since the sixty-minute drama became common in the 1960s, it has become rare for a half-hour drama to be successful on prime-time TV. Today the thirty-minute drama has virtually vanished from television.
I decided to take one of my favorite TV series T.H.E. Cat and examine how it worked and how it didn’t due to its thirty-minute format. Would adding a half-hour to each episode have made the series a success?
Airing in the TV season of 1966-67, the series was a rating failure in a way that made the audience rejection clear. T.H.E. Cat aired on NBC, Friday at 9:30-10pm. It followed rating success Man from U.N.C.L.E. With the last half hour of U.N.C.L.E. beating the first half hour of ABC’s hour long Milton Berle and competitive with CBS’s Friday Night Movie, one would expect the audience not watching the movie to stay with NBC’s T.H.E. Cat. Instead much of the audience changed channel to the movie on CBS and to a lesser extent ABC’s Milton Berle.
Chicago Tribune (September 17,1966) critic Clay Gowran liked the series citing “the spectacular photography, dramatic change of pace, and the human talent…†He also believed many would be upset by the “bloody action and the bizarre plots.â€
Later (October 31,1966) Gowran would interview star Robert Loggia who was on a publicity tour for the series. Gowran expressed his surprise that there had been no complaints about the violence. Loggia claimed that was because of how the violence was visualized and the “bizarre quality of the show.â€
One can argue that the failure of T.H.E. Cat was not due to its episodes’ length but to the series surreal world. This may explain the series ratings failure but what about creatively? What worked and what didn’t and could it have been fixed with more time per episode?
One of the things that worked best for the series was the opening. There was no time to slowly introduce the hero or the story of the week. Instead episodes began with an action scene. At the end of the short scene someone would ask Thomas who he was. In the style of the famous “Bond, James Bond,†Cat would reply, “Cat. T. Hewitt Edward Cat.†One of the best TV intros ever would follow featuring exciting animated titles with a great jazz theme written by Lalo Schifrin.
Arguably, the most successful form of drama for the thirty-minute TV series is the morality play. A good example of this is the episode “Crossing At Destino Bay.â€
Special note: this is one of the few T.H.E. Cat episodes where some of the color remains. The series color consultant Alex Quiroga would be disappointed to learn that the quality is so poor in most of the surviving prints that the color has usually vanished.
“Crossing At Destino Bay.†Written by Robert E. Thompson. Directed by Boris Sagal. Guest Cast: Robert Duvall, Fred Beir and Suzanne Cramer. *** Hired to protect a man he has yet to meet, Thomas finds Scorpio a paid killer holding four people, including Thomas’ client, hostage. They are waiting for Scorpio’s client to arrive and tell the assassin which one of the four to kill.
https://www.youtube.com/watch?v=66hmHB1T12c
This is a morality play, so it is no surprise that all four of the characters held hostage have reason to fear, each guilty of his or her own sin. The adulterer couple, the killer, and the embezzler who had associates hire Thomas, all are trapped not just by the killer but their own fears and guilt as well.
As all wait to learn who will die, killer Scorpio’s attention turns to Thomas. Duvall plays Scorpio with an odd soft-spoken accent and pride in his professionalism. He sees Thomas as his equal and knows one of them will not survive.
This is one of director’s Boris Sagal’s best works, as he takes the stylized dialogue and heavy symbolism of this virtual stage play and makes it visually interesting. Thompson’s script with one great twist is another plus for the episode. Thompson wisely sets the action in the waiting area for the Destino Bay ferry, a place where people escape from one side to the other, but now it is a prison for the characters surrounded by walls and an iron gate.
More time would have weakened the story, exposing the logic flaws and plot holes. Realism had no place here — expanding the mystery, developing the characters or the story would have just distracted from the story’s point.
Another way to create a successful story for the short format is with a simple plot and stock characters. The episode “The Sandman†did this well.
“The Sandman.†Written by James D. Buchanan and Ronald Austin. Directed by Boris Sagal. Guest Cast: Signe Hasso, Lee Bergere and Dennis Patrick *** Once the world’s greatest thief and mentor to Cat, a man known as The Sandman has returned for one last crime. A return to his first crime where he stole a famous jewel, now he plans to steal it back and return it to the museum he had stole it from many years ago.
https://www.youtube.com/watch?v=rnEe448qrqg
Hour long series such as Perry Mason would spend a great deal of time introducing the mystery and characters. But by using standard characters such as the great old thief in the tradition of Cary Grant in To Catch a Thief, the patient forgiving lover, and Thomas as the old thief’s former student, the audience fills in the blanks reducing the need for exposition.
While at times dull, series such as Perry Mason used the extra time it had to give the story a more interesting complex mystery, its characters more depth, and showed us exposition rather than having the characters artificially tell us.
Set in such a strange world T.H.E. Cat entertained through its unique style. Yet sometimes an episode needed more. In “Payment Overdue†there are too many characters, too many story lines, to fit in just thirty minutes.
“Payment Overdue.†Written by Robert Hamner. Directed by Boris Sagal. Guest Cast: Laura Devon, Paul Stewart, and Dean Harens. *** Why does the Mob want press agent Arnie Bliss dead? Arnie wishes he knew.
https://www.youtube.com/watch?v=C59UoH_HjQA
The plot of Arnie and the Mob could have filled the thirty minutes without adding the subplot of the relationship between Arnie and his client Jerri the singer working at Casa del Gato that week. The backstory of the singer and her guilt about her past was wasted, and it distracted from the central plot.
Worse, the viewer was left half satisfied, wanting to know more about the Mob that used a mortuary as a front, more about loser Arnie, more about the relationship between Arnie and the singer, and more about the life of the regretful singer. This is a story that would work well in today’s modern sixty-minute drama with a main plot and subplot.
So why has the thirty-minute drama vanished from television? Ignoring the commercial reasons, the longer hour series offers an easier path to better drama. There is more time to develop the characters, not only the guest characters of the week but the regulars as well.
One of the appeals of the weekly series are the regular characters who become like friends, people we want to spend time with every week, people we want to learn more about. In these times of long story arc and an audience that care about continuity, it is difficult for the half-hour series to find the time to satisfy those needs and still tell a story. It is not that it is impossible for the thirty-minute series to entertain us it is just easier for the hour-long episode to tell a story and satisfy the audience other needs.
If I were to pick one TV series I think should be remade it would be T.H.E. Cat. Its style and bizarre world would fit in well with today’s popular series of fantasy, strange mysteries and superheroes. More importantly an hour long weekly episodic series would have the time to develop Thomas and his world, a world where I would have liked to spend more time.
February 5th, 2015 at 2:40 pm
Michael,
It Takes a Thief is a Robert Wagner television series. To Catch A Thief is David Dodge’s novel that intrigued Hitchcock enough to improve it considerably and cast Cary Grant in the lead.
February 5th, 2015 at 6:21 pm
Thanks Barry, I got TV on the brain apparently. It has been awhile since my film days when I didn’t spend all my time watching TV.
February 5th, 2015 at 6:26 pm
I’m sorry I didn’t catch this myself, but I’ve made the change. Now nobody will know.
February 5th, 2015 at 6:38 pm
Michael, I have a non-officially released set of the C.A.T. series, and I’ve also noticed how short they seem to me now. I’m sure I didn’t notice back when the series was first on the air.
I’ve had the same problem with the PETER GUNN series. Very enjoyable, but I’d have liked most of the episodes to have been stretched out a bit. Sometimes it’s watching a Reader’s Digest version. For some reason, though, it hasn’t seemed to have been an issue for me when I’ve been watching 30-minute westerns during the last couple of months. HAVE GUN WILL TRAVEL, WANTED DEAD OR ALIVE, WYATT EARP and so on.
It seems to be the detective shows that need the longer time. On the other hand, hour shows from the 60s and 70s tend to drag, not always but sometimes, even MANNIX and ROCKFORD FILES. Lots of padding, particularly noticeable when you realize you are spending lots of time watching cars driving on highways here and there, or shots of airplanes taking off and landing, and so on and so on.
With commercials most 60-minutes crime dramas are barely over 42-43 minutes, and that seems to me to be an ideal time. The stories are pared to the bone, very little in the way of opening intros, and the producers seem to have gotten the knack of making the stories really move.
As long as you’re watching on DVD, that is. Who can sit through 18 minutes of commercials and still remember the story?
February 5th, 2015 at 7:34 pm
Steve, the Western was usually a simple story with white hat good guy versus the black hat bad guy or a morality tale (HAVE GUN WILL TRAVEL did many of those). Another factor was mystery need for twists when the western can tell a simple straight story.
The comedy form remains the most successful for the thirty minute story (20 minute or so plus commercials) because its form of set up-joke rules over serious plot and there are only so many jokes one can do before it becomes stand-up comedy rather than story comedy.
February 5th, 2015 at 7:51 pm
I don’t think PETER GUNN or THE CAT would have been what they were in an hour long format. While the excuse for hour long series was to have more time to develop character and plot, the simple truth is very few actually use that time well.
Series like A TEAM and KNIGHTRIDER, CHIPS, and AIRHAWK would have been much better at a half hour with no pointless padding, and GUNSMOKE in the hour long format dragged in a way the earlier half hour series never did.
Those half hour GUNSMOKE episodes syndicated as MARSHALL DILLON are tight violent and intelligent moral fables, the hour long series was often old actors home week with plot threads you forgot before the endless hour went by.
There are series that need an hour, some need ninety minutes, but many really don’t. There are probably more on currently that actually need the hour long format, but then while not all series are equal there are not any really stupid series dramas out there currently.
But neither PETER GUNN or THE CAT would have been what we remember at an hour. I’m not sure an hour of style over substance (and it was style at its best) would have benefited the show or the audience in either case. At an hour you start to notice THE CAT is derivative and a bit silly and there is no there there other than Craig Stevens to PETER GUNN.
I frankly thought most of the Stacy Keach Hammer episodes would have worked much better at a half hour like the McGavin series. Other series like PERRY MASON would not have worked at less than an hour.
I recall THE VIRGINIAN as a series that usually managed to crowd a half hour worth of story into ninety minutes. Quite a few hour long series of the past would have benefited greatly from less time to meander.
February 5th, 2015 at 9:09 pm
6. David, you and I have discussed this before in various comments sections here. It was one of those comments that got me to thinking about this post. I starting to think about David Janssen’s TV PIs, RICHARD DIAMOND and HARRY O. RICHARD DIAMOND was limited by its time while HARRY O “padded” scenes between Harry and others, especially Anthony Zerbe as Trench was the best part of the series.
I think T.H.E. CAT would work better as hour long series (GUNN as lesser so). Shows such as NBC’s GRIMM, Fox’s GOTHAM, and others share a surreal alternative world. T.H.E. CAT would have benefited from more time in its own world of Gypsies, freaks and the Underworld. Watching T.H.E. CAT I often wished the series could have shown more rather than tell backstory. Not all of the series episodes would have worked better in an hour form (as I state above), and not even another half hour would have made the series commercially successful in the Twentieth century, But today, yes, I see an audience for an hour long T.H.E. CAT (though it might work even better as a theatrical film).
T.H.E. CAT has flaws but style over substance is not one of them. It often featured scenes of great acting and drama told in its unique visual style. It suffered from the New York stage heavy writing that many of TV’s best entertainment of the era shared. It had at times unexplainable casting choices such as William Daniels (CAPTAIN NICE, etc) as a man who all women found irresistible and chubby Michael Constantine (MY BIG FAT GREEK WEDDING) as the World’s Greatest Swordsman.
February 5th, 2015 at 10:47 pm
Michael,
As you say we have hashed and rehashed this, but I do think here you are reviewing a series you would like to have seen, but not one anyone involved ever intended to make. I agree it would have been fascinating that way, I just don’t see that series being made then in the way you describe.
Rather than do that I think you would have just gotten what was there at a half hour stretched to an hour, much as I loved the series I don’t think it would ever have been a ratings grabber, even PETER GUNN, a legendary series, ran a relatively short time and changed networks once.
Fine acting doesn’t mean less style, in fact it is a form of style that often makes up for weak plots or for ideas that might not be equal to the cast. Those episodes you mention and rightly praise, and I am surprised how much I remember with only a little prodding, worked because they were half hour shows. I see no way another half hour would have improved them or the performance.
I agree about HARRY O, but HARRY O was about the dynamic of his life and relationships just as Rockford was more about Rocky, and Angel, and the others than the plots. Other than the star and the fact they are both private eyes there is little in common between Richard Diamond and Harry. Those were multi dimensional characters. Only Loggia made Cat multi-dimensional. It was not in the set up — that was pure pulp.
I agree I would have loved to have seen the series you describe, I just don’t see any practical chance it would have been made then.
There was a great deal of experimentation with series length from the early days through the sixties. There were quarter hour series like there had been on radio, ninety minute series (ARREST AND TRIAL split itself in two 45 minute segments), and twice a week or more series (BATMAN, PEYTON PLACE).
The hour format was never really about art, which is not to say it is never used artistically. Like most things on television it is based on profit, scheduling, and the relative inability of audiences to follow longer works unless they are much better written and produced.
Hour long series pass the Harry Cohen rule, most people’s ass don’t go numb at an hour.
Television pretty slavishly followed the movies, and most B films ran in close to an hour format while quite a few comedy shorts ran at the half hour length. Almost nothing on the television schedule is natural, its done the way it is done because that was the way it was done in the past, and from past examples there is very little profit in experimenting for the business side of television.
Most series could have been seriously improved, but I don’t think we can assume more time would have made for better series and drama, because the same people would have been writing it and directing and producing, and there is no real evidence that for all their talents they would have taken those innovative risks when the lowest common denominator sold more easily and generally had the best chance at success.
I just think we are blaming them for not doing something they wouldn’t have done even if they had the time and money. I think we are lucky to have had what we did as good as it was even when short lived. Most of us have an ideal version of what would have made programs we liked perfect, but it’s a little like wishing your hamburger steak was filet mignon when there was noting being served but hamburger steak.
February 6th, 2015 at 12:15 am
Your observation about B – Films and Comedy Shorts, David needs to be made more often than it is or has been. Television in the early days was, in practice, the continuation of program pictures that the studios, the double bill was being fazed out, were simply no longer making, and so a new production-distribution-exhibition axis evolved, untouched by Supreme Court decisions, and providing a home for fading and rising talent.
February 6th, 2015 at 12:19 am
David, as always very interesting comments for me to disagree with.
In the post I tried to focus on two different points. Why has the thirty minute drama vanished from today’s television. I tried to see if there were creative reasons in favor or against the format. I used one of the best thirty minute drama and found two of the three types of episodes I looked at that there was a creative benefit in the thirty minute episode.
I also found one episode thatwould have been better if it had more time to explore its multi-character story. I still say “Payment Overdue” as with other episodes of the series needed more than thirty minutes.
Ignoring the different opinions considering whether T.H.E. CAT would be as good today as a hour series versus the 60s thirty minute version, the thirty minute drama would have a hard time today at finding success critically and commercially.
As for what time format worked best in the past shows such as EAST SIDE WEST SIDE illustrated even in the 60s the dramatic advantages the hour long format possess. That is not a criticism of the half hour format. But the 30 minute format does some stories well and others not as well. It is the others such as the complex, multi-plot drama with focus on the development of the regular characters that the short format fails compared to the hour long.
February 6th, 2015 at 12:46 am
9. Barry, entertainment evolves. Early film came from the stage and as the silents began to create film’s own style, sound was added. Because of limits of technology (where to hide the microphones), film temporarily became stage bound again then blossomed into some of the greatest entertainment ever made.
TV’s parents were movies and radio, the first for the creative side, the latter for the network side. As you and David state, the way theaters showed movies was changing from the double bill with cartoons, newsreels, and shorts to one major film showed more times a day. TV at the time was similar to radio in that it was a bottomless pit demanding content. The B movies and serials became the weekly TV series. But centered in New York much of TV’s original content was influenced by the stage and theater trained talent. When TV moved to Hollywood in the 60s, film’s influence returned.
Many believe this is the best era television has ever had. I prefer TV over movies (and radio and stage), but while today TV is better than the movies today, TV may never equal the greatness of 1939-45 films.
TV today is changing again, this time leaving films influence and turning into whatever rises from the online world.
February 6th, 2015 at 1:25 pm
Michael
For once we wholly agree on the development of television via radio, B films, and theater (which early on had the same influence on radio and film until they developed their own style.
There is a great deal of good material on television today, network and cable, and the original content for outlets like Netflix, Amazon, and such is changing daily, bur movie trends still dominate or we wouldn’t have Flash, Constantine, Agents of Shield, Gotham, Daredevil, Agent Carter …
And ironically I agree they could have done much more with THE CAT in a longer format, but I don’t have your confidence they would have. I see no evidence they would not have simply padded out thirty minutes worth of story into an hour as so many other series did, and I fear art had less to do with the hour drama than money though creative pressure may have helped push it through.
I don’t see much evidence that art was the motivating factor on many American series. Some, but a small minority.
Always happy to discuss EAST SIDE WEST SIDE, great series.
February 6th, 2015 at 2:02 pm
One of the mistakes critics make is declaring an old form of programming such as the thirty minute drama dead. Sitcoms, family dramas, variety shows, anthologies have all been declared dead and gone many times.
The lack of success of the anthology series in many ways parallels the failure of the thirty minute drama. Yet today there are three successful anthology series on television, TRUE DETECTIVE, FARGO, and AMERICAN HORROR STORY. Instead of every episode being a stand-alone story with a different cast and location, today’s anthology features a different season with its own story, cast and location. AMERICAN HORROR STORY reuse of the same core of actors in different roles goes back to the very beginnings of theater.
Someday some creative talent may find a way to remake the thirty minute drama into a successful form of entertainment.
February 6th, 2015 at 2:15 pm
David, one of the reasons I think T.H.E. CAT would have improved with more time is the talent behind the series, Harry Julian Fink and Boris Sagal. Today Fink is better know for his screenplays (creator of Dirty Harry) so he proved he could handle extra time, And the unique look Sagal gave the series would not have changed with more time.
The series aired in 1966 and followed hour long MAN FROM U.N.C.L.E. The sixty minute drama was more successful then than the thirty minute drama that had peaked in the fifties with TWILIGHT ZONE and DRAGNET. The chance of success then favored the hour long show.
So a show runner who could handle extra time and an audience that preferred the longer format give me reason to think positive. I wonder if the WILD WILD WEST audience might have enjoyed T.H.E. CAT.
February 6th, 2015 at 2:50 pm
T.H.E. CAT sits at the top of my list of half hour dramas, along with PETER GUNN, JOHNNY STACCATO, HONG KONG, even though each series seemed to favor style over substance (unfortunately HONEY WEST had neither, but did have the sexy Anne Francis). I also enjoyed RICHARD DIAMOND, MIKE HAMMER, RIVERBOAT and many of the half hour westerns, but when SUNSET S TRIP and HAWAAIAN EYE appeared I have to admit I much preferred the hour long format. From the point on the half hour dramas–N.Y.P.D., FELONY SQUAD, CORONET BLUE, BLUE LIGHT–had very limited runs. The only thing that seemed to work for DRAGNET and ADAM 12 was having Jack Webb at the helm.
Of course, even while the half hour dramas dominated t.v. you still had NAKED CITY, 12 O’CLOCK HIGH and ROUTE 66 running an hour. But Warner Bros. with its private eye and western hours, seemed to push the one hour format over the hump.
February 6th, 2015 at 2:53 pm
Nothing in entertainment is ever entirely dead. THE ARTIST was a silent movie and won an Oscar. Someone creative will find a way to use almost anything.
Increasingly series on cable networks like STARZ, HBO, SHOWTIME, NETFLIX, etc. are being made with no outlook for later syndication so nudity and violence can’t be cut out as easily as they once were. Most of the erotic late night series on those networks are thirty minute dramas.
I was never doubting the creative talent on CAT, only the network’s flexibility. Even with the spy craze I don’t think they would have bought U.N.C.L.E. without Fleming’s name attached to it.
Maybe that killed CAT, T.H.E. following U.N.C.L.E..
February 6th, 2015 at 3:59 pm
16. Bob Randisi, I agree and I would add Disney’s hour long dramas in the late 50s such Davy Crockett, Elfego Baco, etc that helped prove the audience could handle the longer format.
You brought up one series HONG KONG that brings an interesting point. The pilot was half hour (it sadly can no longer be seen on YouTube). It was awful, a mess that made little sense. The series was an hour long and they took the pilot and added thirty minutes to make the first episode “Clear For Action”
https://www.youtube.com/watch?v=tAC3UcaqiZM
Suddenly the episode made sense and was a decent TV show. HONG KONG didn’t become great until Roy Huggins became the head of Fox TV programming and made some changes to the show.
Speaking of changes made in midseason. Many have wondered why R.G. Armstrong who played the one handed Police Captain McAllister in T.H.E. CAT was not in all of the episodes. The series had filmed 16 episodes when it took a break before filming the last 10 of the 26 episode season. At that time the character was dropped so Thomas could be more a loner on his own.
February 6th, 2015 at 4:13 pm
17. David, I don’t see the problem with the networks. After all ABC had agreed to let creator Ralph Smart add thirty minutes and rework his popular DANGER MAN to make SECRET AGENT. The half hour series lasted one season but the hour version lasted three seasons.
Why would NBC object to a longer format? Why would they interfere with Fink and Sagal any more then they did (which for that time was probably little).
There is no way to know which of us would have been proven correct. If I could have one question answered about T.H.E. CAT it is why was it a half hour instead of an hour.
February 6th, 2015 at 11:57 pm
# 18:
Michael :
When you wrote that “ABC … let Ralph Smart add thirty minutes… ” to Danger Man –
… you obviously aren’t referring to the US network (Danger Man/Secret Agent aired on CBS stateside).
… But if you’re referring to the British ABC (formerly Rediffusion, later Thames TV), DS/SA was in fact a production of Sir Lew Grade’s ITC, which accounts in part for its huge international sales.
British ABC was responsible for The Avengers – but even now you’d be surprised how many “knowledgeable” TV critics credit the BBC for all of these shows.
February 7th, 2015 at 12:36 am
Thanks, Mike for clearing that up. I get even more confused when I watch some of today’s better than expected series coming out of Australian Broadcasting Company (ABC).
The story of DANGER MAN, SECRET AGENT and THE PRISONER and if each series featured the same character or different ones remain much in debate.
You are right CBS aired both series, DANGER MAN in 1961 and SECRET AGENT in 1965-66.
Wonder why Smart rebooted the original and added time? Wonder how much of a role Patrick McGoohan played in the changes from DANGER MAN to SECRET AGENT.
I also wonder if THE PRISONER would have been even better at thirty minutes rather than an hour.
April 3rd, 2016 at 7:23 pm
I was going to say a lot about this program, and I can still, but I thought that I would keep it kind of short, and sweet. It would be really nice if a Hollywood Tv., Series Producer would take an Interest in this kind of tv series, and with the magic of CGI, HOLLYWOOD SPECIAL EFFECTS, GOOD DRAMA, ACTION, PLOT, and so on and so on, And we can’t leave out GOOD WRITERS, AND SCRIPT And to top it all off ONE HOUR LONG!.I believe that the program would really catch on if it was presented in the style of programs that come on the CW NETWORK,Remember the Equalizer? In that theme like, only presented from a modern point of view of the hero,the guy that’s out for justice for the underdog,a sort of Batman if you will, with all of the weapons, and gadgets that befit his name CAT, T.HEWITT EDWARD CAT, AND THE T STAND FOR THOMAS,But Like I always say it would be too good to be true, what a waste of a very good tv. series, that could be a very nice and perhaps if given enough time (1hr) every week Could very well catch on like someone that first strike a match and set on fire and burn into some excellent ratings, But Then let us Pinch Each Other, And Wake Up, again I say what a waste of some good Program Material that’s just sitting in the vault of Bygones, like I said and to those in Hollywood That have the WHERE WITH ALL I Believe That There’s a market out here in today’s times that if presented right this type of TV., SERIES WOULD CATCH ON, THERE ARE STILL MANY THAT ARE STILL ALIVE THAT WATCHED THIS TV., SERIES THAT REALLY WOULD LIKE TO SEE IT PRESENTED FROM TODAY’S MOVIE MAKING, TV., SERIES POINT OF VIEW IN DIGITAL FORMAT, IMAGINE T.H.E. Cat IN Digital Format LOL,another thing with all of this Digital Format Technology Surely There must be a way to take these old vcr recording and make them digital and in color and if not all of them in color at least Digital Black And White. I Mean Come on all of you Tech., Savvy Digital Geeks step up and Transform This Outmoded Format, and put together the 7 Disc 27 Episodes so that they are much more clearer, and defined than the ones that are offered presently!
And with that i’ll Thanks for letting me comment.
April 4th, 2016 at 1:11 pm
Ted W Primm thanks for your thoughts. It is a shared opinion of anyone who has seen T.H.E. CAT.
March 4th, 2022 at 11:23 pm
I like T.H.E. Cat just as it is. I don’t care if the quality is shabby, at least it survived and I love this show!