Character actor Timothy J. OConnor, best known for his role as Elliot Carter in 1960s prime time soap Peyton Place, has died. He passed in his sleep on April 5 in his longtime home of Nevada City, California at age 90.
OConnor had a long career on stage and particularly television, where he had appearances in such iconic shows as All in the Family, M*A*S*H, Gunsmoke, The Twilight Zone, General Hospital, Dynasty, and Star Trek.
Born in Chicago, his career spanned Broadway, television and films. He worked with such actors as Sir Laurence Olivier, George C. Scott, Edward G. Robinson, Jessica Tandy, Maximilian Schell, Vincent Price, and Boris Karloff, among others.
Moving to Hollywood in 1965, OConnor moved to Santa Monica, California, and gained national recognition as one of the stars of Peyton Place. He starred as Elliot Carson in more than 400 episodes of the hit series over three years.
His numerous character roles included appearances on Columbo, The Rockford Files, Hawaii Five-0, The Fugitive, The Outer Limits, Father Dowling Mysteries, The A-Team, Dukes of Hazzard, Wonder Woman, The Streets of San Francisco, Barnaby Jones, Knight Rider, Trapper John, M.D., Maude, Walker, Texas Ranger and Murder, She Wrote.
OConnor spent a year in 1979 starring as Dr. Elias Heur on the science fiction series Buck Rogers in the 25th Century, and had a recurring role in Doogie Howser, M.D., from 1990-91.
OConnors film credits include The Groundstar Conspiracy (1972), Across 110th Street (1972), Sssssss (1973) and Naked Gun.
Acting jobs continued for OConnor through 1997, when he segued to stage director for Nevada Citys Foothill Theater Company.
OConnor is survived by his wife, Sheila MacLurg OConnor; his son, Timothy OConnor; and three stepsons.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.