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Bates Motel Recap, Episode 5: "Ocean View"

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This week on Bates Motel: Norma storms off, repeatedly. Norman attempts to repress his happiness, repeatedly. Shelby acts creepy, repeatedly. There’s also a shooting and a shocking discovery (not repeatedly). Here we go!

Do Not Pass Go. Do Not Collect $200.

In case last week left you wondering about how far Bradley and Norman went in their grief-stricken make out session, I think we have our answer. In the lovely morning light, Norman pulls his clothes on and gazes at the still-snoozing Bradley, then leans over to almost-but-not-quite stroke her hair. (Sweet or mildly creepy?) Also, she appears to be wearing a belly chain. Do people really still wear those?

His walk home reminds me of the trance-like stroll he took for the late-night raid on Officer Shelby’s house a couple of weeks ago, but his expression could not be more different. Instead of barely-suppressed rage, Norman is now barely suppressing a grin. Scratch that, he’s not suppressing it at all. He tries to play it cool when he walks into the kitchen to find Dylan eating a bowl of Rainbow Crunchies, but he just can’t seem to help himself. He even breaks into a half-chuckle, but his mood is abruptly broken when Dylan informs him that Norma is in jail.

The brothers go to see her in the pokey. You know that super-cliche saying, “If momma ain’t happy, ain’t nobody happy”? When it comes to Norma Bates, that’s not lip service—it’s truth.

“How do we help?” Norman asks her.

“I’m glad you wanna help, Norman, really, that’s big of you. Any mother would be broken in half by such devotion,” she spits.

Dylan starts to mention using the hotel as collateral for her $100,000 bail when Norma interrupts, saying that it's unnecessary. “This is just a big mistake. It’s all gonna clear itself up,” she insists.

“Given everything that happened, you don’t need any help?” Dylan raises his eyebrows, and Norman immediately looks guilty. Kid has no poker face. Norma shoots Norman a wounded look, then screams at them both to leave.

“Mom, I wanna help you. Please,” Norman repeats, but Norma refuses to look at him.

Nevertheless, Norman goes back to the motel and starts hunting for the deed. Emma walks in. She’s heard about the murder charges.

“How’d you hear already?” Norman wonders.

“Big news in a small town, Norman,” she says, and anyone who grew up in a small town is knowingly rolling their eyes right now. It doesn’t even have to be big news to make the gossip mill in a little town. I once said something private to a friend while we were out riding bikes and my mom knew about it by the time I got home. To be fair, I was probably talking too loud.

“Damn, that’s gotta suck,” Emma sympathizes, then hopefully adds, “You’re welcome to come stay with us.” Norman lets her down easy, saying thanks, but he’s got this brother, you know? Then, jackpot! He finds the deed.

Friends Don't Let Friends Bail Their Mothers Out Alone

While Dylan’s traipsing through the woods with Ethan, he casually asks if he thinks their bosses would give him an advance of, say, five grand?

Ethan laughs and shakes his head, adding, “I’ve seen what they do to people who owe them money.”

Dylan intends to use the cash on a place for himself and Norman, so this isn’t really the answer he’s hoping to hear. He shrugs it off and says he’ll figure something out on his own.

A&E/Joseph Lederer

While Dylan is trying to raise money to get out of his mother’s house, Norman is trying to raise money to get his mother back into her house. While he and Emma wait at “Jonn’s Bail Bonds” for Jonn to return, Norman decides it’s the perfect opportunity to mention that the sex slave girl is real. He mentions that he found her in a cop's basement, and Emma freaks out, immediately calling it a police conspiracy.

“You’re freaking out,” he says.

“I’m not freaking out,” she insists.

“You’re freaking out all over Italy,” is Norman's response. Is that a real phrase? I’m not familiar. He gets her to calm down by promising that they’ll help the girl, but they're not going to the authorities. His mother is in enough trouble without getting her mixed up in this as well.

His promise is enough to appease Emma. She kisses him, but he’s decidedly less enthused about her affection than he was a few episodes ago. Then Jonn shows up. Before Norman goes in to chat with the local friendly bondsman, Emma has one last question for him.

“Norman? Did she do it? I wouldn’t blame her. Keith Summers was a pig.”

Norman, of course, denies it.

Hell Hath No Fury Like Norma Bates

“It was great seeing u last nite,” Norman texts Bradley, and part of me dies a little. His weirdly proper grammar and vocabulary doesn’t transmit through his thumbs, I guess.

He immediately gets a response, but it’s not Bradley. It’s Jonn.

“Ur mom’s bail has been posted and she will be released at 9 am tomorrow morning.” Do bail bondsmen really text??

At 9 a.m., Norman is waiting at the jail with “please forgive me” flowers when Norma is released. “Brought you flowers,” he says, stating the obvious. “I got cab money.”

“You use it. I’m walking,” Norma pouts.

“Mom, c’mon.”

“Don’t you ‘mom c’mon’ me. I have nothing to say to you.”

Later, at attorney Rebecca Craig’s office, she’s still making good on that statement.

“Mother, when are you going to look at me?” Norman pleads.

She pointedly stares at him without saying a word.

Ms. Craig has barely started asking questions about the case when Norma purses her lips. Something is clearly not sitting right with her. “If you don’t mind me asking, how old are you, exactly?” Rebecca responds that she’s 33, which seems to further agitate Norma. As her lawyer tries to piece together what happened, Norma interrupts again. “It sounds like you’re trying to make up a story,” she says.

“You are charged with murder. I’m talking to you about your defense,” Rebecca responds, slightly disbelievingly.

“I don’t need a defense. I didn’t do it.”

Rebecca mentions the motel carpet fiber found under Keith Summers’ watch. “It’s hard to refute DNA evidence,” she explains.

“I don’t care. According to whom? Who’s running these tests? I wanna run my own tests,” she rants. “I’m not going to walk into a court of law and say that I did it in self defense just to make your job easier. I didn’t do it. I’m done here,” and she storms out. Vera Farmiga is very good at storming out.

“Guess we’re leaving,” Norman says sheepishly.

By the way, if I had to guess, I’d say the name “Rebecca” is a little nod to Hitchcock’s Oscar-winning film by the same name. There’s also an episode of Alfred Hitchcock Presents called “Craig’s Will,” starring Dick Van Dyke.

On the way home, Norman accuses his mother of being unreasonable.

“You do not care about me,” is her totally unreasonable response. “You went out and you got laid that night I was crying in my room worried sick about all of this, about what could happen, about me being taken away from you and put in jail. You went out and you got laid.”

Norman tears up and admits to the whole thing. Remember that poker face? Still non-existent. Norma demands to know who Norman was with, but he won’t incriminate Bradley. Stalled at that roadblock, Norma looks for somewhere else to aim her rage. She settles on berating Norman for giving Dylan details about her rape and the Summers murder. He explains that he needed someone to talk to.

“You do things that don’t make sense, mom. You scare me. I’m scared, OK? I think you might need help.”

Hell hath no fury like Norma Bates scorned by her own son. She unleashes the fury on Norman:

“I scare you? All I have ever done was try to give you a decent life. Get out of my car.”

“It’s like 10 miles to our house,” Norman protests.

“If I’m so damn scary, get the hell out of my car,” she screams.

When Norman refuses to move, she stomps over to his side of the car and physically removes him, then drives away. Resigned to the fact that he’s got a bit of a trek ahead of him, Norman starts plodding down the road. He’s at it for maybe 20 seconds when Dylan comes by on his motorcycle.

“Welcome to the doghouse,” Dylan says, and Norman hops on the back of the bike. In spite of himself, Norman really enjoys the ride. He even smiles and laughs as Dylan swerves the bike a little bit.


A&E/Joseph Lederer

Back at the house, Norman explains to Dylan that their mother is just going through a lot right now. “She’s always going through a lot,” Dylan says. “She’s like an addict. And when you have an addict in your life, the best thing you can do for them—and yourself—is to just walk away.”

Norman says he can’t just walk away; Dylan disagrees.

“Of course you do. We all do. I mean, isn’t that the point? You leave the nest.”

Norman looks skeptical, so Dylan tells him that he’s getting his own house, and he wants Norman to move in with him. We can hope, Motel guests, but you and I both know how this is going to eventually end.

Drug Trafficker With a Heart of Gold


A&E/Joseph Lederer

Ethan and Dylan are bro-ing around when Ethan tosses Dylan a bag.

“I got some food at that bagel store by Bayview. Thought you might be hungry.”

As he settles into the passenger side of Ethan’s truck, Dylan opens the bag. It’s dough, alright, but not in bagel form.

“Um... what’d you do, rob the bagel place?” Dylan asks.

“It’s my money, but I know you’re good for it,” Ethan says. It’s $5000, meant for Dylan to get that place by the ocean he’s been dreaming of.

Then one of Ethan’s “associates” stops by the truck, makes a bit of small talk through the open window, and abruptly shoots him in the neck.

After a moment of horrified shock, Dylan springs into action, giving Ethan something to keep pressure on the wound, then jumping into the driver’s seat. They get to the hospital, where the nurse asks the victim’s name as she’s loading him onto a gurney.

“Ethan,” Dylan says, but looks puzzled when they want a last name. He splits when Ethan is taken into surgery and doctors and nurses start to point at him with suspicious looks on their faces.

Evidence Tampering for Dummies

A&E/Joseph Lederer

Norma and Shelby are having one of their talks-in-the-truck. He apologizes that he had to be the one to arrest her, then says they shouldn’t see each other for a while.

“Just don’t. Stop,” she says. She’s getting ready to do one of her patented storm-offs when Shelby basically slams her against her car to stop her. He also tells her to shut up. “I love you, you idiot.” Rhett Butler, he’s not, but it must work for Norma, because she kisses him.

“I’m gonna think of something,” he promises, and he does: evidence tampering.

He goes back into the station and asks if the Sheriff is in. He’s not, so Shelby pretends to not know where some forms are. When the secretary obligingly goes to find them, Shelby unplugs the surveillance cameras, grabs keys from Romero’s desk and gets into evidence lockup. Wearing baggies over his hands, he finds the watch with the carpet fiber and takes it (we assume). Then he plugs the video monitors back in just in time to receive those forms he didn’t really need.

Meanwhile, Dylan’s driving Ethan’s bloody truck around town. For a guy who didn’t want to attract attention to himself at the hospital, driving a truck with a bloody hole blown through the window seems a little risky to me. He spots the lone gunman wandering around by the docks, and, without hesitation, runs over the guy. 

Shelby Slips

At a coffee shop, Emma is looking up “properties owned by Keith Summers” on the Internets. Through the magic of TV web browsing, she discovers that he owned a boat named “The SeaFairer.”

Also doing a little surfing? Norma. She’s checking out the Bates Motel website, which looks appropriately amateurish, when the phone rings. It’s Rebecca Craig, who tells Norma that her worries are over, because—surprise, surprise—the carpet fiber sample has gone missing. “Without that evidence, they have no case,” her lawyer says.

Inside, Norman's dialing Bradley on his phone.

“Hey, it’s Bradley,” Bradley says, and Norman says, “Oh hey!” before he finds out it’s her voicemail. Been there, done that. This is just the beginning of the babbling, though. Here’s what he leaves on her voicemail, in all of its awkward teenage glory:

“I, uh—I was just, yeah, just wondering how you were, I mean, with all of the stuff you’re going through, and I just haven’t heard. Not that I—not that I should, I mean, if you wanted to call me that’s totally fine, but it’s not like I expect to hear anything. So uh, yeah, I um, I’ve had a really good time seeing you lately. It’s been fun. Nice spending time with you. Um. I know you’re really busy and stuff, and you know, me too, I get that. You’ve got a lot of stuff going on in your life, I’m not an idiot. But yeah, call me, you know if, I hope you’re OK. Bye.”

Luckily, he has no time to overanalyze his horribly embarrassing voicemail because Norma rushes in, flush with the fact that they lost the evidence. She hugs Norman—apparently all is forgiven—but he’s confused about how evidence could just disappear.

“I’m pretty sure it was Zack,” she says.

“So Mr. Wonderful saves the day again. What’s he going to make you do for this one?” he asks, and her face falls.

Emma pulls up outside just as Norman is fleeing the house. “Just get me out of here,” he tells her. She obliges, taking him to the shore. After determining that Norman doesn’t want to talk about his home crisis, Emma launches into the latest on the sex slave situation.

“So I’m going, like, if I had an Asian sex slave, where would I hide her?” Emma says. She’s making some good points about lake houses and cabins, but Norman is distracted by his phone. Emma calls him out on it.

“Emma, I’m kind of with Bradley now,” Norman says. “With, like with, we’re together; we like each other.”

“What is this based on?” Emma asks.

“I slept with her. Two nights ago.”

Emma pauses. “That doesn’t really mean anything you know?”

“It means you hooked up.”

He disagrees, BECAUSE THEY ARE IN LOVE.

“It was a hookup.”

“It was more,” he insists.

“Did she change her relationship status?” she wisely asks.

Norman doesn’t respond.

“Hook up.” She wipes a tear from her cheek. Norman rolls his eyes.

“So, you were Googling something?” he says.

Emma cuts to the chase: She thinks Shelby and Keith Summers were in on the sex slave business together. “If you were in an illegal business with someone, and that person died, might you not use their property to hide something or someone? Keith Summers owned a boat.”

Our detectives head to the marina, of course. They find Keith’s slip—815, a Lost reference, Mr. Cuse?—and, perhaps using some residual Bradley anger, Emma uses her oxygen tank to break the padlock. They rummage around for a bit and come up empty-handed, until Norman opens what looks like a locker door, and a girl springs forth, screaming and kicking.

They manage to get her in Emma’s car, but by the time they get back to Bates Motel, she’s passed out in the backseat. Emma helps Norman get the girl into a room, and I have to think that the motel room where she was chained up and abused is probably one of the last places this girl wants to be, coming in only behind Shelby’s basement and a locker in a boatslip.

Norma is locking up the motel front office when she sees Emma’s car parked out front. Convinced the two of them are shacked up in a motel “getting laid,” as she would put it, Norma throws open the motel door and is stunned when she sees what’s happening.

“I want to know what the three of you are doing in the motel room, because right now it doesn’t look too good,” Norma says. Norman reminds his mom that he told her about this girl locked up in Shelby’s basement, and she accused him of lying, which she does again now. Luckily, the girl is coherent enough to back up Norman’s story.

“I’m sorry, dear, I’m sorry,” Norma shakes her head. “I’m just saying, there must be some mistake. It’s not the same man. It’s not Zack.” She runs back to the office and flips through a newspaper to find a picture of Shelby from a lumberjack competition. She takes it back to the motel room and shows the girl.

“He’s the man,” the girl confirms, twice, her eyes wide with fear.

“I’m sorry,” Norman says to his mother. “I’m sorry. I told you.”

Best Quote of the Episode:
“Well, if you can’t count on your friends to help bail your mother out of prison, then really, what good are they?” - Emma

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11 Delicious Facts About Good Burger
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Paramount Pictures

It takes just 14 words—“Welcome to Good Burger, home of the Good Burger, can I take your order?”—to make a ‘90s kid swoon with nostalgia. Good Burger, the beloved Nickelodeon comedy about a couple of daft teens who try to save their fast food joint from corporate greed, was born out of a Kenan Thompson/Kel Mitchell sketch on All That in the mid-'90s. A year later, due to its popularity, it found itself being turned into its own live-action movie, with Brian Robbins at the helm. Today—20 years after its original release—it’s a silly cult hit that’s indelibly a part of Generation Y. Revisit the classic with these facts about Good Burger.

1. KEL MITCHELL AUDITIONED FOR ALL THAT WITH HIS CHARACTER FROM GOOD BURGER.

In an interview with The A.V. Club, Kel Mitchell explained how he came up with Ed. “I did a ‘dude’ voice, and that’s where Ed [from Good Burger] was kind of born,” he said. “I did that there at the audition. They were just cracking up.”

2. ED’S FIRST APPEARANCE WAS IN THE JOSH SERVER SKETCH, “DREAM REMOTE.”

Essentially, Good Burger was born out of a random character decision made during one little sketch. “It was where [Josh] could have a remote control that could control his entire life,” Mitchell told The A.V. Club. “So, he could fast-forward through his sister nagging, he could make pizza come really quickly. I was the pizza guy. I came to the door, and the pizza guy didn’t really have a voice, so I was like, ‘Mleh, here’s your pizza! That was the first time we saw Ed, and so they created Good Burger.”

3. ED’S LOOK WAS INSPIRED BY MILLI VANILLI.

When prepping for Ed’s debut on All That, Kel Mitchell spotted what would become the character’s signature look. “I remember I went to the hair room, and I saw these braids. It was like these early Brandy ’90s Milli Vanilli braids. I put those on, and it came to life,” he told The A.V. Club.

4. THOUSANDS OF POUNDS OF MEAT STUNK UP THE SET.

Nickelodeon

For a movie all about burgers, you better believe the production had a ton of them sitting around on set. "At one point, there was over 1750 pounds of meat on the set," Kenan Thompson told The Morning Call. "Some of it was old meat. It was so nasty. Some of the burgers would stay out there for a long time. I felt sorry for the extras who had to eat them with cold, clammy fries. But on screen, those burgers look good."

5. ELMER’S GLUE WAS USED TO KEEP THE FOOD LOOKING FRESH.

In order to keep the food looking good on screen, the production resorted to old, albeit inedible, tricks. "It was so gross, because when I scoop out ice cream in the movie, it was really vegetable shortening with food coloring,” Mitchell told The Morning Call. “When I poured milk on cereal, we used Elmer's Glue so the flakes wouldn't get soggy."

6. KENAN AND KEL CONTRIBUTED TO THE GOOD BURGER SOUNDTRACK.

Good Burger was their baby, so of course Kenan and Kel took the reins on more than just the creation of the characters, according to a 1997 interview with The Morning Call. Specifically, Kel partnered up with Less Than Jake on the hit song, “We’re All Dudes.” Because of this, the soundtrack actually charted at 101 on the Billboard 200.

7. GOOD BURGER WAS LINDA CARDELLINI’S FEATURE FILM DEBUT.

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In an interview with The A.V. Club, the Freaks and Geeks star reminisced about her breakout role in the Nickelodeon movie. “That’s my sister’s favorite role that I’ve ever played! It was so much fun. It was my first film, and it was a fantastic part,” Cardellini said. “I got to play crazy! Nobody knew who I was, and I got the part from the table read.”

8. WRITER DAN SCHNEIDER INTENDED TO GIVE UP ACTING WHEN HE WROTE GOOD BURGER, BUT HE PLAYED MR. BAILY IN THE FILM.

On creating Good Burger, writer/producer/actor Dan Schneider explained to The A.V. Club: “I’ve always wanted to write, and after I was doing All That and Kenan & Kel, I got the opportunity to do another TV show—I was still going on auditions. I realized that if I took that show, I was going to have to give up All That and Kenan & Kel. I really didn’t want to do [that] ... I passed on the acting role, and that was really the turning point, I guess, in 1996, when I was like, ‘You know what? I’m going to put my acting career on the back burner, and I’m going to be a writer-producer.’ Then I wrote the movie Good Burger.” However, if you watch the movie, you’ll notice Schneider starring as Mr. Baily.

9. THE ORIGINAL TRAILER FEATURED A SCENE THAT DIDN’T MAKE THE MOVIE.

For reasons that remain a mystery, a scene where a Good Burger customer orders “a good shake” from Ed (Mitchell), only to receive an actual bodily shaking from the Good Burger employee, didn’t make the final cut. It did, however, feature for a few seconds in the theatrical trailer.

10. KENAN AND KEL REUNITED FOR A GOOD BURGER SKETCH ON THE TONIGHT SHOW.

In 2015, Kenan and Kel reunited for a Good Burger sketch with Jimmy Fallon. This time, however, Fallon played Ed’s co-worker, while Kenan came in as a construction worker as a surprise. "We've been wanting to get back together," Mitchell told E! News. "It was just about the right project ... it felt like home."

11. THE FIRST LINE IN THE FILM IS THE SAME AS THE LAST LINE.

Appropriately, the line is, “Welcome to Good Burger, home of the Good Burger, can I take your order?”—just watch the movie.

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12 Fast Facts About Magnum, P.I.
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Magnum, P.I. was appointment television in a world before peak TV made that sort of thing commonplace. Starring Tom Selleck and set against a lush Hawaiian backdrop, the series was a triumph thanks to its tense action, humor, and eclectic cast of characters. Selleck’s Thomas Magnum shed the typical action hero mold for something far more relatable, and for eight seasons, the series was among the most popular on the air. To bring you back to a time when all you needed was a Hawaiian shirt and a Detroit Tigers cap to be a star, here are 12 facts about Magnum, P.I.

1. THERE'S A STRONG HAWAII FIVE-0 CONNECTION.

Magnum, P.I. made its premiere on CBS in 1980, the same year the network’s long-running Hawaii Five-0 was taking its final bow. Magnum’s location was picked because the network didn't want to let its Hawaiian production facilities go to waste, so the Tom Selleck-led show filmed many of its indoor scenes on the old Hawaii Five-0 soundstage.

The two shows are even set in the same universe, as Thomas Magnum would make references to Detective Steve McGarrett, who was famously played by Jack Lord on Hawaii Five-0. Though Lord never did accept the offer to make a cameo, the link between the two shows was never broken.

2. PLAYING MAGNUM COST TOM SELLECK THE ROLE OF INDIANA JONES.

Can you imagine Indiana Jones with a mustache? Or Tom Selleck without one? Well one of those almost became a reality as Selleck was the top choice for the swashbuckling archaeologist when production on Raiders of the Lost Ark began. Unfortunately, the actor’s contractual commitment to Magnum, P.I. prevented him from taking the role.

In a cruel twist of fate, a writers strike subsequently delayed filming on the first season of Magnum, theoretically freeing up Selleck for the role—if he hadn’t already dropped out of consideration. Though the part will forever be linked to Harrison Ford, the ever-excitable George Lucas described Selleck’s screentest as “really, really good.”

3. THE THEME SONG MADE THE BILLBOARD CHARTS.

If you think the Magnum, P.I. theme is a miracle of network television, you’re not alone. The song, composed by Mike Post, reached number 25 on the Billboard Hot 100 chart in 1982—a rare feat for a TV theme. Post is also the man behind hit TV songs like The A-Team, The Rockford Files, Quantum Leap, The Greatest American Hero, and plenty of other ‘80s and ‘90s staples. He’s probably best known as the man behind the ubiquitous “dun, dun” sting from Law & Order. (The Who's Pete Townshend actually wrote a song about Post's theme work, title "Mike Post Theme," which was released on the band's 2006 album, Endless Wire.)

The Magnum, P.I. tune you’re bopping your head to right now wasn’t the original opening song, though. For the first handful of episodes, including the pilot, the series had a much less memorable intro song.

4. THE SHOW FEATURED SOME OF ORSON WELLES’S LAST PERFORMANCES.

Orson Welles’s final years were a blur of voiceover work and jug-o’-wine commercials, and one of his last jobs was acting as the voice of Robin Masters—the mysterious author who lends Magnum his guesthouse in exchange for security services. Masters is only heard, never fully seen, in the show, leading to plenty of conspiracy theories over his actual identity (some fans still think he was Higgins all along).

Occasionally Masters would be seen only briefly and from behind. For those rare moments, actor Bruce Atkinson would provide the necessary body parts for filming. Though his voice was only heard rarely during the series’ first five seasons, Welles was scheduled to play the role for as long as the show was on the air, but the actor’s death in 1985 brought a premature end to his tenure.

5. THERE WAS ALMOST A QUANTUM LEAP CROSSOVER.

Donald Bellisario’s TV empire is one of the industry’s most impressive feats, resulting in multiple top-rated shows and critical favorites. But getting two of his most popular series to cross over proved to be more trouble than anyone would have anticipated.

In order to secure a fifth season for Quantum Leap, Bellisario suggested that Scott Bakula’s Dr. Sam Beckett character “leap” into the body of Thomas Magnum in the final moments of season four, leading to the following year’s premiere. But there was a snag with securing Selleck; his publicist even claimed he was never formally approached about the subject, saying, "We’re hoping. It’s on hold. We don’t have an answer.” The idea was soon dropped, and a fifth season of Quantum Leap went on without any help from Magnum.

Magnum, P.I. was off the air at this point, so Selleck was already on different projects. Some test footage of Bakula as Thomas Magnum was shot and shown at a Quantum Leap fan convention, but that’s as far as viewers got.

6. CROSSOVERS WITH MURDER, SHE WROTE AND SIMON & SIMON DID HAPPEN.

VINCE BUCCI/AFP/Getty Images

A crossover between Magnum and Murder, She Wrote? That did happen, oddly enough. The event took place in the Magnum, P.I. episode "Novel Connection" during season seven and Murder, She Wrote’s “Magnum on Ice.” In the story, Magnum is arrested for murder, and the only person who can clear his name is Jessica Fletcher, played as always by Dame Angela Lansbury.

During its third season, Magnum also crossed over with his fellow CBS private investigators on the show Simon & Simon. Both series ran simultaneously on CBS for almost the entirety of the ‘80s, and in this episode the trio banded together to secure a Hawaiian artifact that supposedly had a death curse attached to it.

7. THE SMITHSONIAN PRESERVED MAGNUM’S SIGNATURE HAWAIIAN SHIRT.

If you’re not old enough to appreciate what a phenomenon Magnum, P.I. was, consider this: Selleck’s iconic Hawaiian shirt, Detroit Tigers hat, and insignia ring from the show were all donated to the Smithsonian’s National Museum of American History.

The objects joined other culturally significant TV relics from over the years, including Archie Bunker’s chair from All in the Family, the Lone Ranger’s mask, and a Kermit the Frog puppet. Perhaps just as big of an honor, Selleck found himself in the Mustache Hall of Fame for the memorable lip fuzz he sported throughout the series. His digital plaque reads:

“Throughout his acting career, Selleck’s charismatic grin, unflinching masculinity and robust, stocky lipholstery have made him the stuff of legend.”

8. IT PRODUCED A FAILED BACKDOOR PILOT.

The first season of Magnum, P.I. was about more than just establishing Tom Selleck as a household name; CBS executives also wanted an episode to act as a backdoor pilot for an action series starring Erin Gray. In the episode “J. ‘Digger’ Doyle,” viewers meet Gray as the titular Doyle, a security expert that Magnum calls on to help thwart a potential assassination attempt against Robin Masters.

Though the episode went off without a hitch, the spinoff never materialized. In fact, Gray never reappeared on the series after that.

9. MAGNUM DIES IN THE PREMATURE SERIES FINALE “LIMBO.”

By the time season seven rolled around, it seemed that Magnum, P.I. had run its course—so much so that the network had planned for that to be the show’s sendoff.

In the season’s final episode, “Limbo,” Magnum winds up in critical condition after taking a bullet during a warehouse shootout. The episode gets Dickensian as Magnum, caught between life and death, drops in on all his closest friends (and supporting cast) as a specter no one can see or hear. He makes peace with everyone around him before he apparently walks off into heaven, punctuated by the John Denver song “Looking For Space.”

To the surprise of the cast, crew, and fans, the series was renewed for a shortened eighth season, meaning Magnum had to come back from the beyond and continue his adventures for another 13 episodes.

10. THE REAL SERIES FINALE IS ONE OF THE MOST-WATCHED OF ALL TIME.

When Magnum, P.I. actually ended, it ended with one of the most-watched finales of all time. It currently sits as the fifth most-watched series finale, not far behind the likes of Cheers, M*A*S*H, Friends, and Seinfeld. The grand total of viewers? 50.7 million.

11. SELLECK AND TOM CLANCY FAILED TO GET A MAGNUM MOVIE OFF THE GROUND IN THE ‘90s.

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Rumors of a Magnum, P.I. movie have been rumbling since shortly after the credits rolled on the series' final episode (and likely well before that). It got close in the ‘90s when Selleck teamed with famed novelist Tom Clancy to pitch a Magnum movie to Universal.

Clancy was a big fan of the show and was ready to crack the story with Selleck, but nothing ever came of it. Selleck later recounted:

"We got together, and I went to Universal, and I said ‘It's time we could do a series of feature films.’ They were very interested, and I had Tom, who wanted to do the story, and I had this package put together, but Universal's the only studio that could make it, and they went through three ownership changes in the '90s, and I think that was the real window for Magnum."

12. WE MIGHT SEE A SEQUEL SERIES FOCUSING ON MAGNUM’S DAUGHTER.

The time for a Selleck-led Magnum, P.I. movie may have passed, but there’s still hope for the franchise. In 2016, The Hollywood Reporter broke the news that ABC had a pilot in the works for a Magnum sequel, which would put an end to the constant reports of a full-fledged reboot or movie adaptation of the show.

According to the site, the show would follow Magnum's daughter, Lily, "who returns to Hawaii to take up the mantle of her father's PI firm.” It remains to be seen whether or not the project will ever come to fruition.

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