Prolific Aaron Spelling offers an action series about a woman who has inherited five cons paroled to her late cop-husband, who run an inn and, inadvertently, solve crimes. Cleared so far in 106 syndie marts and jammed with hurried action, “Robin’s Hoods” has “been there” all over it.
Well-groomed Linda Purl is assistant district attorney Brett Robin. When her cop-husband is killed, she inherits Robin’s Nest, an inn run by parolees she knew nothing about and whom she doesn’t much like.
But her hubby Jake believed in them, and this wouldn’t be Spellingsville if they weren’t A-OK.
A sixth member of the con brigade has disappeared, and word has it that an unknown cop-friend of Jake’s was taking payoffs from a smooth-but-rotten restaurateur-gangster.
The avengers go after their vanished pal and Jakes’s killer, while Brett, defrosting, slowly veers away from tossing them back into the pokey.
The killer could be Jake’s partner DeCosta (Michael Beck), or maybe the mean-tempered detective Quill (Robert Cicchini), or maybe the runaway. In any case, everyone keeps busy. The plot’s in a hurry, and the clues are limp.
Jennifer Campbell’s Annie was nabbed for breaking and entering; David Gail’s bartender Eddie is a nice guy picked up for aggravated assault; Julie McCullough’s tough Stacey is caught with a cache of grass; Mayte Vilan’s Maria is nailed for aiding in a robbery; Claire Yarlett, once wealthy, was scribbling bum checks.
But heck, they’re good guys, and they all live together above the inn.
Director Marty Pasetta Jr.’s work is indifferent, and the Rob Gilmer-George Geiger-Michael Gleason script is tired.
Good actress Purl lends a ladylike, distant characterization. The gang of five has a ways to go before registering much on the personality scale.
What with Spelling, the most productive TV producer of all time, knowledgeable E. Duke Vincent and experienced Rob Gilmer exec producing the series, it could come together.
It’s been said that it would take four months of 24-hour-a-day viewing to catch all of Spelling’s TV output; this one, though, is only a blip in the oeuvre.
Tech credits are OK, and John E. Nordstrom II has contributed a highly charged theme.