Monkees vs. Macheen: “The Frodis Caper” a.k.a. “Mijacogeo”

“I’m as puzzled as the Oyster.”

Here we are at the last episode of the series and the end of these regularly scheduled recaps. I’m full of conflicting emotions because I don’t want this to end, yet I’m glad the series went out with this bizarre and fun episode. “The Frodis Caper” a.k.a. “Mijacogeo” aired for the first time on March 25, 1968 and was directed by Micky Dolenz, written by Micky along with Jon C. Andersen on the story, and Dave Evans on the teleplay. Evans wrote eight other Monkees episodes, mostly in the first season. Andersen penned four that were filmed in season two. The subtitle, “Mijacogeo,” was made up from the first couple of letters of each of the Dolenz family member names, “mi” for Micky, “ja” for his mother Janelle, “co” for his sister Coco, and “geo” for his father George. It was also the name of the Dolenz family childhood dog.

The episode begins with a montage edit of tight shots on the various parts of a Rube Goldberg-style alarm clock, activated by the heat of the rising sun. This culminates in a record player needle dropping onto “Good Morning Good Morning” by The Beatles. It was unheard of to have songs by popular recording artists on television shows in the United States at the time, let alone a band as big as The Beatles. Of course we know the Monkees had hung out a bit with The Beatles the previous summer and were present for some of the Sgt. Pepper’s Lonely Hearts Club Band sessions.

Mike, Davy, and Micky wake up and notice that Peter is not in his bed. Flash-cuts to the empty bed as the others wander around calling for him. They agree to search the premises and meet back there at 0800 hours (That would be a long time to search because their individual alarm clocks read 6 a.m.) There’s a double edit from two different angles as Mike says “Okay guys, let’s go” and Micky and Davy move to leave but then rewind back to Mike. The editing freezes the action and there are screen captions that read FREEZE FRAME.

In less than one minute of episode, there were already tons of editing tricks drawing attention to the fact that it’s a filmed television show. These flash-cuts, captions, close-up shots, unusual angles, montage edits, and fourth-wall-breaking moments permeate the entire episode. Of course some of these techniques were used by the directors/editors throughout the series; Dolenz threw them in all in at once. He does get credit for one fully original touch. In the DVD commentary for this episode, he mentioned that he chose to use a two-camera setup to shoot “Frodis Caper” and points out that this was never done before on sitcoms. On the commentary, Dolenz indicated that it made the shooting go faster and gave the episode its unique look. Even after this, a two-camera setup wasn’t done very often, if at all, and I can’t think of an example offhand. In other words, after all these years, this episode still really stands out.

My husband, a casual Monkees fan at best, loves this episode and even showed it to his film-making partner to illustrate both the directing/editing techniques as well as the surreal humor. Dolenz made directing into a secondary career. Starting in the late ’70s and early ’80s, he directed for television in the U.K., notably a couple of comedy sci-fi kids shows, Metal Mickey, and Luna. He also directed episodes of Boy Meets World, Television Parts (Michael Nesmith’s Elephant Parts spin-off TV movie), and “The Box,” a short film starring Terry Jones and Michael Palin of Monty Python.

The Monkees look around downstairs for Peter, ignoring the fact that he is sitting there in plain sight. While Mike and Micky screw around, performing a “Lost and Found” sketch with flash-cuts to Peter’s opening title picture, Davy finds a weird “statue.” Mike and Micky quickly figure out that the statue is indeed Peter. He’s been hypnotized by the television, which is showing a crudely animated eye making a pulsing sound. The other three somehow manage to shut off the television before it hypnotizes all of them.

After the opening titles, the Monkees (without Peter) scramble around the neighborhood to see who else was affected. Mike and Micky find the whole Parker family mesmerized by the television screen. This appears to be commentary from Micky Dolenz and the other writers regarding television and its ability to brainwash the masses. (And once again, The Monkees was way ahead of its time. This is frighteningly relevant today.) There’s a great comment from Micky Dolenz in this article, a list of “10 Interesting Facts about The Monkees TV Show.” “Most TV is like dope,” Micky Dolenz told Seventeen magazine in 1967, “It’s just there to put people into a state where they’ll believe anything anybody says— like the announcer of the six o’clock news. Our show gives you the idea of being an individual. That’s what we represent to the kids: an effort to be an individual, an attempt to find your own personality.” [“I’ve always found it fascinating that you can identify the problem while being part of the problem.” – Editor’s Note] Mocking the media/television and its effects on society and culture was an overall theme of The Monkees, such as with “Captain Crocodile,” “Monkees a la Mode,” and “I Was a 99-lb Weakling” (to name a few).

Davy, Mike, and Micky rush over to the television station KXIW (the same television station call letters from “Some Like it Lukewarm”), where they find the stagehand hypnotized by the television eye. Micky wonders, “What kind of a warped, maniacal mind could be plotting such a conspiracy?” Cut to Rip Taylor as Wizard Glick, shrieking, “It’s working!” and laughing evilly. The Monkees apparently saw that scene because they cut back to Micky who tells the audience, “Oh, that kind of a warped mind.”

Our heroes decide that this is a job for Monkeemen (cue the Monkeemen theme). Monkees run to a phone booth to change into their superhero costumes. Bad luck, there’s a sign in the phone booth informing them that Federal law prohibits the use of phone booths for “the purpose of changing into or out of secret identities.” They see a telephone company truck and there’s a hilarious moment of Monkee-panic, “it’s the heat!” They squeeze out of the phone booth, Three Stooges-style. This episode has a nice combo of surreal and physical humor.

Next is a montage edit of Glick revealing his “maniacally warped plan” to take over the world with the Frodis. Between close shots of his mouth, there are a series of weird flash-cuts as he talks, such as: “…that’ll release the incredible power of the Frodis (shot of Frodis eye), “…with the aid of my villainous henchmen” (shot of the four henchmen who each have a tiny handheld television), “…I can control the minds of millions!” (shot of Hitler. Sieg heil!).

A henchman alerts Glick to the fact that the “Monkeemen Monitor” is activated for the first time in five years. This gives us an indication of how long Monkeemen have been together, and that this is not Glick’s first time dealing with them. In response, Glick orders the release of the two-headed org.

The Org lumbers after the three panicking Monkees. They look for help from the Monkeeman Manual, which Micky pulls (possibly a copy of the script) out of his pants. First we’ve heard of this manual. They follow the ridiculous instructions: “To dispose of a two-headed org, jump up and down three times, roll a head of cabbage, and giggle.” But where were they keeping the cabbage? When the org falls, the Monkees sing “Ding dong, the wicked org is dead!” Wizard Glick is so very much a parody of the “Wicked Witch of the West” character from The Wizard of Oz. Rip Taylor looked like he was having a fabulous time. (“Could ya die?”)

This episode in particular and The Monkees series in general, frequently had a Sid and Marty Krofft psychedelic kids’ show vibe. The Krofft Supershow, Space Nuts, and Dr. Shrinker are a few of the ones I’m old enough to remember. The Aquabats! Super Show, which I watched with my daughter from 2012-2014, was clearly inspired by Krofft shows and The Monkees.

Next, Glick sends out the TV repairmen. Both the Org and the repairman are released by comically-labeled levers. They rush out with their televisions displaying the eye and try to catch the Monkees off guard. Hilariously, one of the repairmen hypnotizes himself when he checks to make sure his TV is working. It seems Glick would’ve failed again, except that Mike suddenly says “You know what? It’s seven thirty, six thirty central time. It’s time for The Monkees. I wonder if anybody around here’s got a television set.” Fourth-wall-breaking and it moves the plot along. Nice. Repairmen come from everywhere to oblige him.

The Monkees are tied to chairs, but they are not hypnotized, which is inconsistent. Micky decides to use mental telepathy to contact Peter to come get them out. Using a chant he got, not as Mike guesses, “while studying transcendental meditation under an Indian mystic,” but rather that came free with a cereal box top. Hilarious double joke at the expense of their sponsor, Kelloggs, and the Beatles’ Maharishi Mahesh Yogi days. Peter hears the message and leaves the house to go help his friends. (Nam-myoho-renge-kyo apparently means “devotion to the mystic law of the Lotus Sutra.”)

Peter wanders through the town and toward the television station while Glick watches him on his monitor. (The monitor is sort of a witch’s crystal ball.) [Another allusion to The Wizard of Oz – Editor’s Note] He stops to chat with Valerie Kairys, who’s been wandering around the station, also not under the Frodis’ spell it seems. Ultimately, he ends up right in Glick’s clutches when he knocks politely on the station door and Glick is there to greet him.

Next scene, a very miffed Peter is tied up with the other Monkees. Peter notes that there’s a telephone and he hops over to it and calls the police, explaining to the cops that they’re being held captive at Mammoth studios by “these weird people that want to take over the world.” Somehow Mike’s hands have gotten free, so all four Monkees escape and turn the tables on Glick and his men. The cops show up, one played by Bob Michaels, who was also the cop that Micky “directed” in character in “The Picture Frame.” Seeing Glick and his henchmen tied up and the Monkees free, they come to the conclusion that the Monkees are the villains.

They’re not under arrest for long, as the cops suddenly have an urge to watch Dragnet and are easily tricked into looking at a television in the shop window. Unfortunately it also gets Peter. So he’s going to spend much of this episode out of his mind, as he did in the previous episode, “Monkees Blow Their Minds.” They carry Peter back into the TV studio but the ease of their escape ends up being a trick by Glick: now they are in chains and guarded by some guy called Otto.

Mike and Micky con Otto into giving them the keys to the chains by challenging him to a card game. Otto turns out to be a card shark, pulls cards out of his mouth, and shuffles like a pro. They realize they can’t play a real game with him, so Mike and Micky both make up a game on the spot, “Creebage.” (I guess they can read each other’s minds.) They bluff through the rules, declare that they won, and stand up and take the keys. Otto protests “But I have a Creebage.” This scene is reminiscent of the Star Trek episode “A Piece of the Action” when Kirk made up a card game called “Fizzbin” to facilitate escape from gangster-imitating aliens. [“A Piece of the Action” premiered on NBC January 12, 1968 – Editor’s Note]

Creebage or not, the Monkees unlock themselves and carry Peter off to somewhere else in the television studio. Frustrated with carrying him, they hang him on a coat rack. A hilarious screen caption points out that the coat rack is a “Prop.” Poor Peter is a prop himself at this point. The Monkees search in vain for The Frodis room, until Nyles (yeah, he’s still wandering around) comes out and hangs up a sign that identifies the right door (“Yeah, Frodis room”). According to the Imdb, “Frodis” was the Monkees’ code word for marijuana, and they would smoke it in a lounge built for them off the soundstage where the series was filmed (called the “Frodis Room”).

Mike, Micky, and Davy rush into the Frodis room and find a ridiculous plant with a football eye socket with the drawing of the hypnotic eye pasted over it. Frodis pleads with them that he’s being used by Glick, who kidnapped him when his spaceship crashed. He asks them for help. The boys are “moved” by the Frodis’ story and start crying. Micky gets off the hilarious line, “I can’t stand to see a grown bush cry!” They pick up the Frodis to carry him back to his ship, but before they get far, Glick and his men block them.

The onscreen caption announces, “Typical Monkees Romp.” This one is a spacy, slow-motion run through the backlot to the song “Zor and Zam” (Bill Chadwick/John Chadwick). The lyrics seem to be a mythological protest song. It’s a weird choice tempo-wise for a chase scene. There are lots of slow-motion shots, low angles, and odd close-ups, not to mention a random shot of show producer Bert Schneider lying on a stretcher.

The Monkees (carrying Peter and the Frodis) somehow reach the flying saucer before Glick gets there. As the song ends, the Frodis pops his head out and blows smoke all over the bad guys. Glick is utterly stoned: “I don’t want to fight anymore. I just want to lay down in the grass and be cool.” Frodis laughs in his demented, squeaky little voice. (Micky Dolenz’ own voice) This reminds me of Mel Brooks’ History of the World Part I (1981) when Gregory Hines blows the giant joint onto the Roman soldiers who are pursuing them. Since it’s a film, they didn’t have to be as subtle as “Frodis Caper” but there is a similarity.

The last segment, and the last scene ever on The Monkees, is Micky’s choice of musical guest, following the precedent set up with Davy/Charlie Smalls and Mike/Frank Zappa. Peter never got to bring his choice of guest on (“Monkees Mind Their Manor” would have been a good spot) but stated he would have wanted to bring on Janis Joplin. Micky introduces Tim Buckley (1947-1975) who sings “Song to the Siren.”

Buckley began his career in folk rock in the mid-1960s but experimented with other music styles, such as jazz and funk. The song he performs here, “Song to the Siren” (Tim Buckley/Larry Becket) was not on an album until Starsailor (1970). A better known version was a 1983 cover by the band This Mortal Coil, which made the UK top 100 and was used in the films Lost Highway and The Lovely Bones (and in a random perfume commercial I recall from the early 2000s). This beautiful song has been covered by many other famous musicians, including Robert Plant, Bryan Ferry, and Pat Boone. Read more about it here.

Sadly, Buckley died in 1975 from a heroin overdose. His estranged son, Jeff Buckley (1966-1997) was also a singer/songwriter. His only studio album, Grace, was a critical, though not commercial, success and Rolling Stone ranks it 303 among the “Greatest 500 Albums of All Time.” Like his father, Jeff Buckley also died young (drowning accident).

This episode didn’t take my breath away for the wittiest dialogue or unusual plot, nor is it one that I have a lot of personal attachment to, but it is still one of best and most memorable. I’m so glad The Monkees went out on a high note. It seems appropriate that this was the perfect way for The Monkees to end: a paranoid, Sci-Fi parody about an evil entity pacifying the world through television. The Monkees were self-aware and never afraid to mock the system that made them or to make fun of themselves. Micky Dolenz and crew took the surreal humor, present in many episodes, up a level, making “Frodis Caper” one-of-a kind. I wonder what would have happened if the four Monkees had spent less of their energy on taking over the music and instead put their creativity into the episodes as Micky did in this instance; they might have found an unexpected way to make a statement.

As it stands, I’m glad the show ended when it did. It’s a drag when shows keep going long after they’re any good, they “jump the shark” etc. The Monkees was already showing signs of wear and tear, which could have been a sophomore slump that might have been corrected by hiring fresh writers. We’ll never know. Fifty-eight episodes are what we got, and I enjoyed the majority of them. As Micky said the show was about individuality, and to me it’s also about rebelling against authority, being young, about going beyond what you think is possible, about music, humor, and friendship. I thank The Monkees, not just the four band members themselves, but everyone who worked on the show and the music. You’ve given me a lifetime of fun, laughs, and inspiration.

Thanks to everyone for reading and sharing! I’ll be back in the summer with another post listing my favorite moments of the series and again in the fall with a post about Head. In the meantime, I’ll see you in The Monkees Facebook groups.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examined the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.

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Monkees vs Macheen: “The Monkees on the Wheel”

“Dolenz’s Four”

“The Monkees on the Wheel” debuted December 11, 1967 and was directed by Jerry Shepard. Shepard was mainly an editor on The Monkees, but he directed “The Monkees Get Out More Dirt.” Episode writer was Coslough Johnson, who wrote “Monkees on the Line” and many more. The episode starts off with a stock footage shot of the Las Vegas strip, and the narrator sets it up [“Submitted for your approval…” – Editor’s Note], “Las Vegas, pleasure capital of the world, where each man seeks the things he loves most.” He repeats the phrase “the things he loves most” a few times, and we see a foreground of a casino. In the background, lecherous Monkees literally chase girls. Mike rubs his hands together as he tries to catch one, and Davy zeros in on a girl’s derriere. It’s pretty darn funny to see, and it sets up a tone that’s bawdier than most episodes. I’m thinking they were going for a Rat Pack, Ocean’s Eleven (1960) vibe on this one, doll-face!

The narrator tells us that some are here to “pursue their greed” and we meet the villains of the week, two gangsters planning a caper. Crooks and gangsters, etc. were the most commonly used opponents of the Monkees. This mini-gang has fixed the roulette wheel to land on 16 red. The Boss (David Astor) gives Biggy (Pepper Davis) instructions on how to win all the money from the casino. He can’t do it himself because he’ll be recognized.

In the main casino, Micky tries to pick up a pretty blonde called Zelda by giving her money for the slot machine. Once again, Micky has poor taste in women: he goes on and on about their endless love while she just wants to win money. When he’s out of coins, she tells him to, “buzz off, Charlie!” and walks away. Micky loses his temper and pulls the handle on the slot machine, winning the jackpot. She runs back to kiss his hand and tell him he has “magic fingers,” interested in him again now that he’s won money. Micky tells the camera, “I thought she only loved me for my money.” This episode is especially cynical. Many of them are and I’ve applauded them for it. In this episode the Monkees are fully participating, instead of being victims of a cynical story line.

Zelda is played by Joy Harmon who we previously saw in “The Picture Frame” as the squeaky-voiced bank teller. If you’ve never seen the film Cool Hand Luke, Harmon has a memorable scene where she washes a car in front of the prisoners. Given the overall girl-ogling tone of this episode, it seems perfectly appropriate to mention it in this recap.

Mike chastises Micky for gambling, “you told me you wouldn’t gamble anymore” while Zelda and Micky pick up the coins. Mike reminds Micky that they need to go play a gig. It’s always nice when they manage to add a line that mentions that the characters are supposed to be musicians. Season two so far hasn’t shown them playing very often as part of the story. Micky absent-minded-ly sets his winnings down for a moment on the roulette table, accidentally betting on 16 red.

Biggy missed his chance to place a bet somehow. He gasps when the Manager (I’d call him the dealer but IMDb says “Manager”), Rip Taylor, announces 16 red and Micky wins tons of money. Davy walks up to mention they’re supposed to be rehearsing. Biggy, who looks like a shorter Vic Tayback, tells Micky not to bet and crushes his hand. The three Monkees decide to leave, but Peter comes up and says you should never leave while you’re ahead. That seems like terrible advice but what do I know? I don’t gamble. Biggy tries to place his bet but Peter blocks him, putting Micky’s bet down again. When Micky wins again, the Manager freaks out because he broke the bank.

Back in their room, the gangsters talk about how to get the money back. The Boss tells Biggy to get Della the Decoy. Meanwhile, the Monkees carry Micky’s winnings back to their room on a stretcher. They consider what to spend it on; Mike says they should invest the money in something “worthwhile.” [Nesmith was quite the businessman. – Editor’s Note] There’s a quick montage of Micky, Mike, and Davy picturing hot girls while Peter imagines hugging a stuffed tiger. That was hilarious, and Peter was the only one who got close to his object of desire. Also, could be an allusion to the song, “Cuddly Toy” that’s used later in the episode and the notion of girls as “cuddly toys.”

There’s a knock at the door and Peter lets in Biggy, who’s got a vacuum and poses as the “maintenance man.” Since Davy and Biggy are about the same size, Davy doubts his claim, “Maintenance men don’t come that short.” Peter disagrees that Biggy’s short, “stand up and show him how tall you are.” Of course Biggy comes back with, “I am standing up.”

Next, Della the Decoy walks in the room, dressed in a sexy maid’s costume and the Monkees all go nuts for her. Peter: “Are you the maintenance man too?” Della: “Sure. Don’t you like the way I’m maintained.” The Monkees stumble over each other to try and pick her up. Behind them, Biggy’s making off with the money. Della’s not really a decoy, she’s more like Della the Distraction. Also, we’ve seen the Monkees interested in girls before but it’s usually romantic. We’ve never seen them this out-and-out horny. (Maybe Micky from time to time.) The Monkees make an over-the-top spectacle of being all over Della, instead of acting in character.

Back in the casino, the Manager chews the scenery, going on and on about his aggravation. In every scene that the Manager is in, Rip Taylor hams it up. In contrast, fantastic straight man Dort Clark enters the scene, playing yet another cop (we previously saw him playing cops in “Monkees a la Cart” and “The Picture Frame”). The Manager tells him his story.

The Monkees are still ad-libbing with Della until Davy halts the chaos to let her say her line, but she doesn’t have one. Biggy takes off with the money, and the Monkees realize they’ve been had. They start shouting for the police, who turn up immediately along with the Manager. (Mike sarcastically quips, “What took you so long.”) The Policeman tricks Micky into signing a confession and arrests all four Monkees. The Monkees protest that they’re arresting the victim, not the criminal. As they’re led away, there are some unusual close-ups as the Monkees complain about police brutality, etc.

At the police station, the confession is shot with crooked Batman-type angles. The Monkees protest the illegality of this arrest and insist their money was stolen. The Policeman tells them to think of a better story than that, so Mike tells “Jack and the Beanstalk.” This scene (and the entire episode) is reminiscent of the confession scene from “The Picture Frame,” but not as funny. It becomes obvious the Monkees didn’t know the roulette wheel was rigged, so the Manager makes an offer: if they can get the money back in 24 hours he won’t press charges. Our boys are now thoroughly enmeshed in yet another criminal caper.

Back in their room, Mike suggests if they can’t find the crooks, they should get the crooks to find them. Peter suggests, “Why don’t we open a prison?” The other Monkees immediately jump on him for the “stupidity” of that suggestion. But not really; they’re clearly being ‘meta’ and reacting to the stale jokiness of the written dialog. As in the scene with Della, they’re way outside the actual episode and commenting on the story and the writing, not really acting in character to mock Peter. Mike “comes up” with an idea, which we hear as mumble, mumble, rhubarb, rhubarb.

The Monkees enter the casino dressed as gangsters in suits and sunglasses, except Peter who looks more like an accountant. Zelda recognizes Micky but he brushes her off. They step up to the Roulette wheel. Biggy approaches Peter; Micky recognizes him as the hand crusher (but doesn’t recognize him as the Maintenance Man.) Micky disguises his voice; I don’t know what he was going for, but he sounds like Wolfman Jack. He tells Biggy not to bother the Professor (referring to Peter.) Micky identifies himself as the Insidious Strangler and explains his gang is in town for, “Robbery, extortion, and murder.” Mike cuts in “sort of your regular tourist activities.” Except he clearly did NOT say that. It doesn’t match his lips at all and the above line was obviously dubbed in later in Micky’s voice. I can’t read his lips and would love to know what the heck he really said, and why it had to be dubbed over.

Micky identifies Mike as Vicious Killer and says he did two years of solitary confinement, standing on his head. The editors flip a shot of Mike upside down. “The Professor” tells Biggy they’re here to “take over this town and win all the money.” He starts to tell Biggy about his mathematical system, which is almost perfected. Biggy gives him the missing piece: 7+5 equals 12 (not 11). Peter gets excited, “My system is perfect!” Upside down shot of Mike repeating the line “isn’t that dumb.” All of the action above was intercut with shots of Rip Taylor, carrying on behind the roulette table. The Monkee gangsters go see the Boss in his room. Micky has a Three Stooges/James Cagney impression contest with the Boss. I think it’s a draw.

Peter explains his sure-fire gambling “equalization” system by handing Biggy and the Boss each glasses of liquor. Then, Peter does something uncharacteristically savvy: He gets the crooks falling down drunk while he bluffs his way through his “system.” The other three Monkees sit and let the Peter steal the show, cutting in once to ask the audience “Isn’t that dumb?” The crooks pass out, and Micky, Mike, and Davy give Peter well-deserved applause. The Monkees look for the money and immediately ruin Peter’s clever plan by setting off an alarm. The Boss drunkenly wakes and decides, “It’s a deal: your system, my money.”

Back in the casino, the fake and real gangsters enter. David Pearl approaches Mike, smacks him in the nose, Three Stooges-style, and says “take this wizard Glick.” Mike tells him he’s not Wizard Glick and Pearl apologizes. He should have smacked Rip Taylor, who was Wizard Glick in the final episode “The Frodis Caper.”

The Policeman approaches Micky and explains he can’t take the stolen money without proof. The “Professor” tells the gangsters to bet 24 red. The Boss is in the casino, even though at the beginning he said he would be recognized (as a crook I suppose). Zelda approaches Micky again and keeps bothering him until he gives her money to play with. Unfortunately 24 red wins, even though the Monkees aim to lose so the Manager can recover his money. Peter bets absurd numbers that don’t exist (87 plaid) and continues to win. Zelda identifies Micky as “Magic Fingers,” outing him to the Boss. The Boss orders Biggy to “get them.”

Romp to “The Door into Summer” (Chip Douglas, Bill Martin), from Pisces, Aquarius, Capricorn & Jones Ltd. The cast runs around the roulette table. Della the Dish distracts everyone. Davy plays a spinning wheel game and kisses girls. Joy Harmon steals the scenes and looks to be having fun. She pulls all the slot arms, until she gets to Micky. Very suggestive joke as she pumps his arm like he’s a slot machine and in response, Micky “rises” and gives us a lascivious smile.  Mike eats rose petals in a callback gag to “The Picture Frame.” The story finishes with the gangster collapsing on the roulette table.

Peter, Mike, and Davy demonstrate the tag sequence, which Mike explains as, “some complete laugh riot at the end of a show.” They demonstrate a “here we go again” tag. Peter and Davy discuss how’ll they’ll never get involved in gambling again and then realize Micky’s missing. Mike cuts in to explain; now they’ll cut over to Micky playing with “the gambling machine.” Micky wins a bunch of slots and he gives his all his money to Della. He smiles at the camera with his tongue hanging lustfully out as they walk off screen together. While Micky does his thing, there’s these quick-cuts back to Mike, Peter and Davy and Mike saying “and now you cut back to us.” Mike: “And we’re supposed to give a pained look to the camera. Isn’t that funny kids?” Sarcastic laughter. Seems like a fitting way to wrap up this particular episode.

But wait, there’s more! Next is an alternate performance film of “Cuddly Toy” (Harry Nilsson) For this version the Monkees are on stage in vaudeville-inspired striped jackets and straw hats. Davy dances by himself, no Anita Mann this time, while the others play instruments. This is followed by the outtakes from the “Monstrous Monkee Mash” episode, which aired after this episode on January 22, 1968. There are several repeat takes of Mike and Micky in their Werewolf/Mummy costumes trying to get through their dialog. (You can hear James Frawley directing, “Go again.”) Mike can’t say the punch line because he’s laughing so much. On the last one, he finally finishes his sentence and Micky looks confused at the camera.

To me, this episode had a different tone than the others. There was a lot more sexual humor than usual. As a five year old, I wouldn’t have understood it. As a teenager, I loved it for being naughty. It’s also unusual for the amount of fourth-wall breaking. As in “Hillbilly Honeymoon” and “Wild Monkees” they draw a lot of attention to the fact that it is indeed a television show. They reached a point where instead of parodying everything else in Hollywood, they made fun of themselves. The Monkees seem to be rebelling against the format of their very own show when they break down the tag sequence and mock their usual treatment of Peter, etc. They don’t leave the audience out of this; we’re in on the joke. I like this, but I also like it when they’re truly engaged in the story-lines. Fortunately, there were a few more of those episodes left before the series ended.

by Bronwyn Knox

Every couple of weeks, “Monkees vs. Macheen” examines the crazy, spirited, Ben Franks-type world of the Pre-Fab Four: David Jones, Micky Dolenz, Michael Nesmith, and Peter Tork alias The Monkees.