When we last saw Miss Fine (or should I say Mrs. Sheffield), she fell off her husband’s yacht on her honeymoon. I have previously written about The Nanny: Season 5 in January and Season 4 in September of last year, so go back and look up all the previous shenanigans. The first episode of the final season has the newly married couple stranded on a deserted island, and Fran Drescher is up to her usual ridiculous antics as Fran Fine. You can expect a lot of silly and moderately racy sexual innuendo. As usual, there are lots of celebrity cameos. In one Hollywood Squares episode alone, there are nine celebrities interacting with Max Sheffield (Charles Shaughnessy) who is one of the squares. Fran is trying to get pregnant, and she has to climb up to get Maxwell because they have to follow a strict time schedule. Then since these episodes take place in 1999, there is an episode with Hillary and Bill (celebrity impersonators) which is an embarrassment for all involved. We get Aunt Frieda (Lainie Kazan), who is still obsessed and upset that she didn’t get to sing at Fran’s wedding. Frieda finally gets to sing, and Lainie has a fine voice. Another person who gets to sing is Fran’s father, Morty (Steve Lawrence). He also sounds great. We have never seen Morty before in the previous seasons, but in a very special episode, Sylvia (Renee Taylor) is seeing a hot doctor (Joseph Bologna, Renee’s real life husband) and everyone thinks she is cheating on Morty.

Then there is the constant rivalry between Mr. Sheffield and Sir Andrew Lloyd Webber, which culminates in a fight for the rights of Yetta’s Letters (don’t ask, but Yetta (Ann Morgan Guilbert) is Fran’s absentminded grandmother). Then there is time for another wedding when Maxwell’s little daughter, Maggie (Nicole Tom), grows up and gets married to an empty-headed male model. All of this leads up to the two-part series finale which juggles two disparate story lines. Niles (Daniel Davis), Maxwell’s fey butler, and C.C. Babcock (Lauren Lane), Maxwell’s business partner and jealous lover, reveal that their six seasons of hatred and insults was actually covering deep animal magnetism. Will they or won’t they stop treating each other like idiots and finally give into deep burning passion? Then we have Fran at Maggie’s wedding, very close to her due date when she gets stuck in an elevator with C.C. Babcock. I don’t have to tell you what happens next. Well, I could, but I won’t. We do finally get to find out what C.C. stands for.

It comes as no surprise that even in 2016 we continue to have issues with how we handle and discipline criminals while they are incarcerated.  We have a system that pulls in troubled youths that seem to come and go through the judicial system and seem to spend a majority of their lives behind bars.  Hollywood has seemed have an eye on this problem and has churned out many films about misunderstood inmates that are incarcerated and are unfairly treated by the system and those who are in control of the inmates.  Cool Hand Luke, Sleepers, and The Shawshank Redemption are a couple films that jump out at me, and today it’s Stealing Cars that dares to explore this problem.

Billy (Emory Cohen) is basically your rebellious teenager who we meet in the opening scene as he is stealing a car and having a little joyride before the police finally catch up to him.  As anyone can expect, when Billy arrives to the detention center he receives a less than warm welcome from one of the guards, Conrad (Paul Sparks) who seems to have it in for Billy from day one.  To be fair though, Billy is far from being the model inmate and wastes no time making an obnoxious spectacle of himself during his first days in custody.

From the opening credits I knew this was movie intended to be a hard-hitting examination on how drugs could compromise a promising future. In most respects Curveball hits the mark; even the inclusion of the unorthodox methods which the lead character’s mother utilizes in order to help him is a welcome addition. However, there is a disconnect between the film’s introduction and conclusion that does some pretty considerable damage to the story overall.

Nolan is a pitcher with a promising future ahead of him. He and his best friend Sam are closer than brothers. Since childhood, when Sam protected Nolan from a beating from a group of boys, Nolan has felt extreme loyalty to his friend, covering for him anytime he makes a mistake. Sam, unlike Nolan, is a foster child in an at least verbally abusive home. To escape his situation, he turns to drugs and eventually pulls Nolan into that world as well. It starts off recreationally and rapidly becomes all-consuming