The Grenade

Decent episode (although the blaring music at the party in the conclusion is rather annoying). The main point of interest is a young (and really tanned) Jan-Michael Vincent shirtless (having been doused with sulfuric acid by a disturbed teenager) in one of his first acting roles.

Decades later Columbine and Sandy Hook have made this episode ring true. A disturbed teen starts out by throwing acid at a fellow student while at a movie theater; later a search of the boy's room turns up a 45 hand gun and a semi-automatic rifle and a live hand grenade. And when an additional grenade is missing, Friday and Gannon know they need to find the suspect. By today's standards, the acting is stilted and the action slow, but the story has become too familiar.

This episode includes a scene where Friday and Gannon discuss whether some kids are born sour or not. Then they discuss how parents are giving their kids too much - too soon.

All true - all too true.

Once again Dragnet predicts the future of what was to become of the spoiled "Baby Boomers" - and now we understand why today's teenagers are lost to the world.

Why - we as a society paid attention to Sociologists instead of the Police who had to deal with all the day to day problems in real time - not in some long terms study where you never actually meet the people who have taken the wrong turns in life - is beyond me.

This is one of Dragnet 1967's more ambitious episodes. It's notable for the casting of future 70's TV/movie stars John Rubinstein and (the "Jan" not yet credited) Michael Vincent. While Rubinstein shows more talent (I saw him do a dead-on Darryl F. Zanuck once: excellent actor!), Webb managed to save a few wardrobe bucks by keeping hunk Vincent shirtless. Mickey Sholdar plays misunderstood acid-wielding loner/psychopath Gerald Paulson. A bit on the melodramatic side here, Sholdar's acting career spanned primarily his teens & twenties, with his most notable gig being a series regular on real-life uber-disturbed Inger Stevens' The Farmer's Daughter (where he once appeared with this episode's Heather Menzies; Hollywood was a small planet in the 60's). "The Grenade" contains less right wing proselytizing than many of Webb's '67 entries but does sport the usual idiotic generic "rock" music heard when a 60's TV producer was either too cheap or oblivious to the real thing. I think Sherwood Schwartz shared his '45 collection with Jack Webb (I'm sure that same dance number was used in an episode where Gilligan dances with a monkey). This episode does have me wondering if it really was that easy for a disturbed, Brylcreamed 18-year old to get his mits on WW2-era explosive ordinance in 1967. I was only 10 then and don't remember these babies being sold in the Army-Navy stores I wandered into. Sidebar: What the hell ever happened to Jan-Michael Vincent?! He was a big deal in the 70's-early 80's but he's seemed to have blazed a trail for Mickey Rourke, without the late game comeback. Back on topic: For all my criticism about how chea.. errh ---economical--- Webb-the-Producer was, the series has a weird, undeniable appeal and this is one of the better installments. 9+/10 for the season, likely the Citizen Kane of Dragnet 1967.

Well, the opening episode of the second season certainly had a dramatic ending For me, for some reason, the highlight of the half-hour show was one of those cop-to-cop talks "Friday" (Jack Webb) and "Gannon" (Harry Morgan) had in the car, the discussion being why some kids turn out bad. Morgan is more in favor of the environment causing kids to go bad while Webb just thinks some kids are born bad. It's a very interesting talk and would be a conversation piece for anyone.

Anyway, the story is about a teen - "Gerald Paulson" (Mickey Sholdar) who is an outcast and seems to be one of these "troubled" kids. While in the a movie theater another teen gets acid thrown on the back of his jacket by "Paulson." That kid (the acid victim) by the way, turned out to be a fairly famous actor: Jan Michael Vincent.

What happens after that, I'll let you watch as this "Paulson," who sounds like "Eddie Haskell" when he's first confronted by Friday and Gannon, begins to cause far worse problems.