Check out this ALF syndication trifold!

Yeah, I know, my post title sucks, but I don’t really have a running feature on the blog I can tie this to. It’s just a piece of pretty cool television history that I can’t find anywhere on the internet. For all I know, I have the last surviving copy and am therefore morally obligated to drop it into a volcano.

But, what the hell, I’ll archive it for future generations instead.

I saw this at a convention, and Casey Roberson was nice/vindictive enough to buy it for me. The vendor described it as a piece of promotional material sent to networks to see if they wanted to air ALF. He wasn’t wrong, but I assumed he meant for its initial run. Instead this was distributed in 1989, toward the end of the show’s run, promoting the availability (starting fall of 1990) of ALF for strip syndication.

Strip syndication refers to a show’s reruns airing at a fixed time across the entire week, thereby showing up as a long “strip” when laid out on a TV schedule.

Of course that also means the trifold gets to play into the naughty definition of “strip” and present ALF as a Playmate centerfold. This means I own the only official piece of ALF pornography ever produced.

Now you see why I’m bothering to archive it!

Anyway, I’m including pictures, but since I just have an iPhone I’ll also transcribe the text. I intend to be as accurate as possible, right down to any typos or punctuation issues. Feel free to point out any you see in my transcription, though, just in case they’re my own.

I have seen some of the details here in other places (such as ALF’s favorite Melmacian TV shows) but since I can’t find a copy of this anywhere, I assume there was just some overlap with copy found in other materials.

Interestingly, but not surprisingly, the Tanners aren’t mentioned here at all. This is trying to sell a show without even paying lipservice to four of the five main characters.

That’s our ALF!


Front: The Centerfold

The centerfold features ALF lying naked on a beach. You’re welcome.


There’s also a “Love, ALF” signature. Thanks to this and the next page, we have the best look at his handwriting we could ever want. Analyze away, graphologists!

The copyright notice in the lower right reads:
ALF is a Registered Trademark of Alien Productions ®
© 1987 Alien Productions. All Rights Reserved.

Yes, I know the copyright notice says 1987 and I said it was circulated in 1989, but you’ll see where I got that date later. This must just be the copyright date for the image, as the text is clearly selling the show for syndication in 1990, which is not something they would have been doing in 1987. The text, therefore, may not be copyrighted at all, so feel free to use it to advertise your own show about a farting puppet.

Inside Left: Celebrity Data Sheet

This page features three promotional photos of ALF and one from “Don’t it Make Your Brown Eyes Blue?” where he’s dressed as legendary womanizer Elton John. We also get some definitive MELMAC FACTS regarding his birthday, but I don’t get whatever joke they’re trying to tell by giving him two of them. Then there’s the insight nobody expected that he wants to fuck the cat from the 9Lives cans. (And, I guess, Mr. Ochmonek.)

Anyway, the text:


HEAD SIZE: 33″ WAIST: 33″ HIPS: 33″
HEIGHT: 3’2″1”’ WEIGHT: ‘Till the Sun Shines, Nellie
BIRTH DATE: August 12 and October 2, 1757 PLANET: Melmac (Lower East Side)
FAVORITE EXPRESSION: “Curiosity Killed the Cat” (Usually followed by the expression “Pass the Plum Sauce”)
TURN-ONS: Morris the Cat, High Nielsens, Hawaiian Shirts
TURN-OFFS: Empty Fridge, Short Jokes, Alien Task Force
FAVORITE MOVIES: “It Came From Outer Space”, “Mars Needs Women Now” and “Hair”
A GOOD WOMAN IS: Friendly, Funny and Furry
SECRET FANTASY: To be a regional sales manager for Meow Mix

Inside Center


Inside Right: Interview

He’s hip, he’s hot, he’s ALF, the biggest thing to hit television since the remote control. On the occasion of his highly successful NBC-TV prime time smash being made available for strip syndication (starting fall ’90), we interviewed the old ALFer.

We caught up with ALF at the refrigerator on the set for a candid, far-reaching conversation.

Q: Thanks for taking the time from your busy schedule to do this interview.
ALF: No problem. Mind if I eat a pot roast while we chat?
Q: Not at all. Were you ever on television before you got your own series?
ALF: Yes. I was a contestant on Melmac’s most successful game show, “Wheel of Cheese.” I won a sofa, a set of mock luggage and a styrofoam goat.
Q: Pretty impressive. Were you the biggest winner?
ALF: No, actually Tyrone Split was the biggest winner. He was seven foot three and weighed three-hundred and forty-seven pounds. Ha! I kill me!
Q: And us as well. Are you the only Shumway to enter show business?
ALF: Oh, no! My Uncle Goomer Shumway was a famous actor. He starred in great Melmacian movies like “Cat on a Hot Tin Griddle,” “Gone With the Fish,” and “Luncheon Counters of the Worse Kind.”
Q: Let’s talk about your amazing success on television. Your popularity on NBC has been growing stronger each week, your demographics show that you have a perfect audience composition, and now you are destined to become a hit in syndication. Why do you think that you made such a huge impression on our whole planet?
ALF: I hit it pretty hard when I crash landed. Hey, if I wasn’t wearing my seat belt, I’d look like Sean Penn.
Q: What do you think of earth television?
ALF: Hey, by watching television I learned that the world was black and white before 1953! But television on Melmac was funnier. Shows like “I Dream of Homer,” “Bowling for Rice,” and “As The World Explodes.” Even though the last one hits a little close to home now.
Q: Sounds interesting.
ALF: It does? Is this going to take a lot longer? I have a drumstick here that’s growing bacteria!
Q: Just a few more questions. You’re entering the syndication marketplace next to shows like “Cosby” and “M*A*S*H.”
ALF: I can see the line-up now. Huxtable, Hawkeye and Hairball! Ha! I kill me!
Q: You’ll be making lots of money.
ALF: Yes, but it’s only paper. On Melmac we paid with fur. If you over-spent, you went bald. And we don’t want station managers going bald. I realize in some instances we may be a bit late.
Q: Well, ALF, I’ll wrap this up. You’re an alien who has it all. A hit network show, the admiration of millions…
ALF: This drumstick that’s hardening before my eyes…
Q: But what’s next for ALF? What are your dreams?
ALF: I do have one recurring dream about showing up for work and realizing that I’m not wearing any pants. But then I remeber that I don’t work and I never wear any pants.
Q: Thanks for your time, ALF. Many thanks for this revealing interview.
ALF: My pleasure. Sure you don’t want some pot roast?
Q: No, thanks. There’s no silverware.
ALF: So?

alien productions


So, yeah, there you go! It’s actually pretty cool. It was wrapped in plastic when we bought it, so I didn’t get a good look at it until later. The Playboy similarities are pretty tame, and it’s nothing a child would recognize, so I can imagine this was a really nice take-home for station managers whose kids loved the show. It’s a cool bit of very rare memorabilia, and if I had gotten my hands on it as a kid I would have thought it was great.

Does anyone else know more about this? I wonder what other bits of ALF ephemera are lost to the ages.

It’s laminated like a restaurant menu, which means it’s stayed in pretty good shape through the years, and I’m both happy to have it and thrilled that I get to be the one to preserve it online. Mainly, though, I hope you are as upset as I am that this is the third different “here’s what Melmacians used for currency” joke. Whoever wrote this should be FIRED FROM ALF.

Better Call Saul Reviews: “Sabrosito” (season 3, episode 4)

Before I got to watch this episode, I saw somebody say that “Sabrosito” felt a lot like Breaking Bad. That didn’t spoil anything, of course, but I knew exactly what must have been meant by that: there’d be a lot of Mike.

That’s interesting to me. As many characters from that legendary show pop up in this one (“Sabrosito” adds Don Eladio to the list), it’s only Mike that feels the same. In some cases that’s clearly by design. Jimmy — the other main Breaking Bad character — is at an entirely different phase of his life. We may see him act like Saul Goodman now and then, but he’s still James Morgan McGill. He pursuing different things than Saul was, in different ways. He has different ways of approaching his problems. His station is almost entirely distinct from the one in which we find him during Breaking Bad.

But Mike is Mike. He loves his granddaughter, he’s willing to get his hands dirty, he has an identifiable personal morality, and he has a preternatural gift for Getting Shit Done. He is the character we remember from that other show, with the only differences between incarnations being superficial.

Jimmy needs to become someone else. Literally. Mike just needs to shake someone’s hand and make it official.

So when people say that Better Call Saul feels like Breaking Bad, they’re almost certainly referring to a Mike scene. After all, the previous “feels like Breaking Bad” episode was season one’s excellent “Five-O,” which was the Mike origin story we never initially got. Jimmy barely figured into it, and barely figures into it again this week.

We’ll talk about Jimmy more next week, but for now I want to make a point: Mike is no longer the one character that makes the show feel like Breaking Bad. Now we have Gus Fring.

I’m okay with this, but I’m also a little surprised. In the media runup to season three, I read an interview with Giancarlo Esposito, who plays the character. I don’t remember much — I may have skimmed to avoid spoiling things — but I do recall him saying that the Gus we meet in Better Call Saul isn’t quite the one we knew in Breaking Bad. I’m necessarily paraphrasing, but the sentiment seemed to be “Gus is still getting the hang of things, growing into the character we remember.”

Now, a few episodes into his life on Better Call Saul, I don’t buy that one bit. Either Esposito is trying to convey that on screen and failing, or…well, I don’t know what the alternative is. But whatever the alternative is, that’s what I’m betting.

Gus is already Gus. Not precisely the same Gus but, again, the difference is the same as it was for Mike: superficial. He’s everything we remember in broad strokes, and we just need to sync up a few details.

Jimmy is a completely different character…as is Hector. Those two appear here in distinct, unique incarnations. Those two each face a journey — clearly tragic — that will eventually deposit them where we remember them being. Mike and Gus are just killing time.

I’m not complaining…I’m just thinking out loud. As this show and Breaking Bad pull closer together on the highway, it’s tempting to compare them more directly, and to think of what happens here not as events unique to this show, but as ones that lay groundwork for the other.

And I’m still kind of disappointed by that. Better Call Saul doesn’t deserve to live in the shadow of Breaking Bad, but it so frequently seems to want to. It’ll carve out an identify for itself here and there, when it can do so without stepping on the other show’s toes. And, frankly, I don’t think that should be its consideration. It can be fun when Breaking Bad characters swing by to say hello, but lately it feels as though the space occupied solely by Better Call Saul is getting thinner and thinner. We aren’t winking at the parent series; we’re turning massive amounts of screentime over to it wholesale.

Does that matter if it’s good screentime though?

Maybe and maybe not. As of now, I still love Better Call Saul. But if it gravitates toward becoming Breaking Bad: The Lost Episodes, I’m going to be far less interested. I’ve seen that show. I own it on DVD. I can revisit it whenever I like, at my leisure. I don’t need to tune in weekly to Better Call Saul if I want to see it. Rather, I should be tuning into Better Call Saul because I want to see Better Call Saul.

Mike is fun to watch, but I can’t say his story — as we know his character remains constant — is anywhere near as interesting to me as Jimmy’s — as we know his character transforms. Gus is fun to watch, but I can’t say his story — as we know his character remains constant — is anywhere near as interesting to me as Hector’s — as we know his character transforms.

You see what I’m getting at here. There are things only Better Call Saul can do. And then there are things Breaking Bad already did.

It feels strange to criticize something like “Sabrosito” for this, because “Sabrosito” is very good. It’s well acted, well written, well shot. It’s thrilling and funny and scary. It held me rapt for 50 minutes or so while feeling like it went by far more quickly.

It was a good episode of television.

There’s just a question of whether or not it was a good episode of Better Call Saul.

On the whole, I admit that I like the more direct Breaking Bad stuff here. The Don Eladio scene at the beginning fleshed out the backstory we saw teased in the “Hermanos” episode of that other show. There Hector killed Max, somebody who clearly meant a lot to Gus. Fine, and that’s all we needed to know. But here we see how Hector’s dealing and Gus’s dealing overlap, and why these mortal enemies had a common associate in Don Eladio at all.

Did I need to know any of that? Of course not. But it’s nice to shade in some detail.

Even more I liked Hector showing up at Los Pollos Hermanos, as the question of how Gus’s less savory dealings might collide with his outward professional life was only hinted at in Breaking Bad. Here Hector crushes the distinction, and it’s both very funny and very scary.

What I love most about having Hector back is that Mark Margolis really gets to stretch his legs (…sorry) in a way he didn’t in Breaking Bad. There he was confined to a wheelchair in anything other than flashbacks, and could only communicate through a bell and a series of angry expressions. Here he…asserts himself. Shows us who Hector is. Reminds us of why he was such an imposing figure in the first place.

The scene in which Hector’s crew takes the restaurant hostage — with some nice touch-and-go theatrics as a woman and her child attempt to leave — was fantastic, and it demonstrates what an absolute treasure Margolis really is. He’s a comedy villain that’s sometimes comic and sometimes villainous without either trait undercutting the other. It’s a hell of a daring balance and it pays off marvelously.

And that’s what Better Call Saul needs to be doing more of if it really wants to retread old ground: show us parts of it we haven’t seen.

Don’t rush to get Jimmy into his new identity, because we’ve seen that. Don’t eat too much time showing us Gus glowering into the middle distance, because we’ve seen that.

Show Hector savoring a cigar while fast food employees yell at him, or scraping dogshit off his shoe onto Gus’s desk. Show Mike playing door repairman and quietly enjoying his torment of Chuck with a power drill.

Show us this world. Don’t show us that one from a negligibly removed perspective; show us things we couldn’t have seen before.

Dead characters are alive. Side characters are leading men. Moments we’ve only ever alluded to can be dug deeply into for their full comic and dramatic impact. Characters we’ve never even heard of are here, just waiting to give us something every bit as memorable as that towering show that came before.

There’s so much ahead of us.

“Sabrosito” proves that.

But it also shows how willing Better Call Saul is to look backward instead.