In
“The Skull,” a criminal master-mind called The Skull (Geoffrey Lewis) sets a
plan in motion to awaken and re-animate all the evil geniuses in man’s history. He decides to start with a famous Mummy, King
“Toot.”
Using
the bandaged villain, The Skull plans to steal the 10 million dollar Selma
Diamond.
Meanwhile,
it is Frankenstein’s birthday and the Monster Squad celebrates the day before
tangling with the Skull.
When
Frankenstein is captured by Skull and Toot, his friends must come to the
rescue.
Although,
like most episodes of Monster Squad (1976), “The Skull”
isn’t particularly good, it is notable, perhaps because it hits so many
mid-1970s Zeitgeist notes.
For
instance, the episode involves an ‘energy crisis’ -- a key term in the era of
OPEC embargoes and gas
lines.
Secondly,
there was a resurgence of interest in King Tut in the pop culture of the 1970s,
and this episode transforms him into an evil henchman.
Thirdly,
there is talk of “black outs” in the episode, another perennial problem of the
mid-decade span.
Besides
these specific 1970s touchstones, the episode actually features some new turns
in the by-now highly repetitive formula.
For
example, the Skull escapes the climactic fight and flees to a graveyard,
forcing the werewolf to fight him there.
The graveyard set is terribly cheap looking -- you can see the grass
“sheet” moving back and forth as a battle in an open grave commences – but at
least the episode doesn’t rely on the frequently seen final free-for-all or
melee in the villain’s HQ that is usually featured.
Also,
this is a nice episode for the Frankenstein Monster, who celebrates his birthday,
and is threatened with death by electrocution by the Skull. He survives, and even gets a “charge” out of
his experience, but the character holds center stage well.
As
Monster
Squad episodes go, this is the most tolerable entry since “Ultra
Witch.”
Next
week: “The Weatherman.”
I got a chuckle out of the reference to Selma Diamond. At the time that this aired, she would not have been all that well known even to adult viewers, but would have been known to comedy writers like the one who wrote this script.
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