Jump to content
Aethera

Major Crimes

Recommended Posts

Oh, how I miss the organization of the old forum, and wish it had been left intact (I had no hope of that when the reorganization was announced, but after The West Wing, The X-Files and one or two other old, but large and semi-active forums I participate in were retained, I started thinking "maybe"), but at least it was vaulted rather than condensed into a giant mess. 

Episodes three and four, Medical Causes and The Ecstasy and The Agony were on in syndication tonight; I only watched in breaks during the game/after the Rams sent the Cowboys packing, so I didn't have any "hey, I never noticed this before" moments, but I reiterated my love for a couple of things:

I appreciate so much that they don't hit us over the head with the parallel between Sharon and Rusty when he says he doesn't cry in front of people, so when he started to cry (because his mom didn't show up at the bus station) he left.  We can easily deduce, just based on The Closer and the few episodes of this show, that Sharon doesn't cry in front of others, either.  And, in fact, in the episode (later in season one) when Rusty accuses her of wanting to get rid of him, we see quite clearly that Sharon will, in fact, get the hell out of Dodge before anyone sees her cry.  But they just let it play; there is no line in either episode making sure the audience understands this is a sentiment of Rusty's to which Sharon wholly relates.  Too many shows would make sure we knew, and cheapen the moment(s) by doing so.

I also appreciate the continuity from Rusty's introduction in The Closer that he's a combination of the toughness of someone who's had to survive on the streets (and the usual sarcasm/selfishness of a teenager under any circumstances) and the fragility of a kid who was abused and abandoned.  Sharon deals with that balance well, and I think by the end of episode four, she - while not yet loving him and certainly not yet thinking of him as a son - is already in a place where she'd keep fostering him through high school graduation even if he somehow was no longer a material witness.

Both cases are good, too; two very solid episodes.  Fritz's reaction to "unmitified" is wonderful.  I also love Provenza in the background using his fingers to calculate how much 15 minutes of the life coach's time would cost him based on the hourly rate.  This show always did little touches like those particularly well.

  • Like 2

Share this post


Link to post
1 hour ago, Bastet said:

I appreciate so much that they don't hit us over the head with the parallel between Sharon and Rusty when he says he doesn't cry in front of people, so when he started to cry (because his mom didn't show up at the bus station) he left.  We can easily deduce, just based on The Closer and the few episodes of this show, that Sharon doesn't cry in front of others, either.  And, in fact, in the episode (later in season one) when Rusty accuses her of wanting to get rid of him, we see quite clearly that Sharon will, in fact, get the hell out of Dodge before anyone sees her cry.  But they just let it play; there is no line in either episode making sure the audience understands this is a sentiment of Rusty's to which Sharon wholly relates.  Too many shows would make sure we knew, and cheapen the moment(s) by doing so.

I never made the connection. Probably because Rusty is a teenager and a guy and many teenagers and guys especially have this weird way of thinking that they shouldn't cry in front of others whereas Sharon was in a professional environment. It's completely understandable that she doesn't want her subordinates to see her get emotional/cry, for several reasons. One is that it could be considered inappropriate/unprofessional since it concerns a personal matter. I doubt that Provenza would have held it against her, still. She also clearly showed enough emotion for Provenza to understand that she was deeply hurt whereas Rusty hid his completely.

Would Sharon cry in front of others in a more personal/private setting? We don't know, do we? (Genuine question, I don't recall that we ever saw a situation that would tell us but maybe I forgot. It's been a while since I watched due to final season circumstances ;-))

Share this post


Link to post
11 hours ago, CheshireCat said:

Would Sharon cry in front of others in a more personal/private setting? We don't know, do we?

She continues to beat-feet it out of there upon anything beyond tearing up in front of anyone until near the end <sob> when she full-out cries telling Andy it might have been better for everyone had she died in the ambulance rather than scaring them all into rearranging their lives to nurse her towards an uncertain future.

She goes through some shit, personally and professionally, and increasingly lets those closest to her in on her reactions to it, but still keeps private her most-emotional breakdowns.  Which is so refreshing for women on TV, who don't often reflect those of us in real life who generally keep our worst emotions to ourselves; it's nice that it wasn't presented as a character flaw.

Edited by Bastet

Share this post


Link to post
17 hours ago, Bastet said:

Oh, how I miss the organization of the old forum

A tiny Bandaid for that: https://en.wikipedia.org/wiki/List_of_Major_Crimes_episodes

17 hours ago, Bastet said:

Episodes three and four, Medical Causes and The Ecstasy and The Agony were on in syndication tonight;

They just aired here. I really enjoyed re-watching them, barely recalling how the bits fit into the whole of the reveal of the crime--much like I enjoy re-watching The Closer episodes.

If I was one of those who really wished Rusty would go away when they first aired, I take it back now. His running away from the bus depot and to "home" at Sharon's made my heart grow a few sizes, heh.

Michael Weatherly did some great comedy in "The Ecstasy and The Agony" as philandering new-age life coach Thorn Woodson. I enjoyed that they said he had been a former hand model and then he did a lot of physical comedy with his hands.
And maybe I shouldn't be so amused, but I thought it was pretty funny that the writers got TNT to let the script include the word "prick" at least twice in reference to Weatherly's character just because it was immediately followed other characters correcting the non-native-English speaker with "Thorn," as if he was confusing the words "prick" and "thorn" when obviously he was calling him the p word because that is what he was.

Share this post


Link to post
On 1/13/2019 at 2:38 PM, shapeshifter said:

If I was one of those who really wished Rusty would go away when they first aired, I take it back now. His running away from the bus depot and to "home" at Sharon's made my heart grow a few sizes, heh.

Giving Rusty more personal stories than any other secondary character, and even more than Sharon, was the cause of much annoyance for me in seasons four through six, but I always loved him with Sharon, and I enjoy him on his own in seasons one through three (and sometimes in four through six).  I find the story arc of he and Sharon going from guardian/ward to roommates to mother and son just beautiful, and I like his slow arc towards coming to terms with the fact "what he did" while living on the streets was actually "what was done to him" (a big part of this is therapy always being offered but never forced on him, and that great conversation about emotional injury being a good reason to seek help; it is not limited to those dealing with mental illness).  I also like the pace of him coming out.  And having him as an ongoing character showed what life can be like for material witnesses in a way crime dramas/police procedurals do not normally do.

On 1/13/2019 at 2:38 PM, shapeshifter said:

And maybe I shouldn't be so amused, but I thought it was pretty funny that the writers got TNT to let the script include the word "prick" at least twice in reference to Weatherly's character just because it was immediately followed other characters correcting the non-native-English speaker with "Thorn," as if he was confusing the words "prick" and "thorn" when obviously he was calling him the p word because that is what he was.

They say "asshole" and "shit" a lot, so I don't know that TNT would have raised a fuss over "prick" even if it wasn't in the context of a non-native speaker mixing up two words, but it makes me laugh, too.  (And making it a malaprop means the line stands in network syndication, unlike "asshole" and "shit.")  The first time he said it, I thought he said, "Brick," and thus there was no joke.  The second time, I finally heard it right, and I laughed - and still laugh each time I watch the episode.  That guy cracks me up altogether - "What business is it of a wife to know what her husband is feeling?"  The whole family is cartoonish, but the actors do it so well.  Roma's reaction to being the McDougals in Tulsa is hilarious, and when she pesters her son into having some water - and then that's enough water - she amuses me even more.

Weatherly, on the other hand, is hard to find amusement in now knowing what we know about him, but I was always more entertained by people's reactions to Thorn than Thorn himself, so I still love the episode.

Edited by Bastet
  • Like 2

Share this post


Link to post

There's an episode in which Amy Sykes stops a fleeing perp with a garbage can lid, right? 
I was just watching a rerun of Law & Order's 1.06 "Everybody's Favorite Bagman" (which is actually the pilot shot in 1988) and Mike Logan (Chris Noth) puts away his gun and picks up a garbage can lid and stops a fleeing suspect.

Is this a trope or police tactic? Or are these two the only times it was done?

Share this post


Link to post
4 minutes ago, shapeshifter said:

There's an episode in which Amy Sykes stops a fleeing perp with a garbage can lid, right?

Almost - it's the lid to a charcoal grill.  That's Snitch, the season four episode where she's determined to protect the young witness.  Mike tells her since he and Julio have fired their weapons recently, it's her turn to shoot someone if it comes to that.  In season two, Cooper said the reason she left SIS is she'd have shot too many people to make the top brass if she'd stayed.  When she, positioned in the backyard, learns the suspect is heading her way, she grabs the lid, and uses it to take him out at the knees when he runs out the back door.

Speaking of that episode, I have some issues with the grandma's parenting.  That girl is only eleven, and first she's left alone late at night (when Amy finds the gun, it is after enough time has passed for the party to break up, the victims to be shot, and Major Crimes to be on scene) - and not because Grandma is working a second job, mind you; she's at some church thing - and then in the end scene, when Amy texts her, it's around 11:30 on a school night and she's up doing her homework, so either Grandma left her alone again or is home but doesn't enforce a reasonable bedtime.  Methinks Amira kind of raises herself; I hope she holds onto Amy's number.

  • Like 1

Share this post


Link to post
5 minutes ago, Bastet said:

Almost - it's the lid to a charcoal grill.  That's Snitch, the season four episode where she's determined to protect the young witness.  Mike tells her since he and Julio have fired their weapons recently, it's her turn to shoot someone if it comes to that.  In season two, Cooper said the reason she left SIS is she'd have shot too many people to make the top brass if she'd stayed.  When she, positioned in the backyard, learns the suspect is heading her way, she grabs the lid, and uses it to take him out at the knees when he runs out the back door.

Speaking of that episode, I have some issues with the grandma's parenting.  That girl is only eleven, and first she's left alone late at night (when Amy finds the gun, it is after enough time has passed for the party to break up, the victims to be shot, and Major Crimes to be on scene) - and not because Grandma is working a second job, mind you; she's at some church thing - and then in the end scene, when Amy texts her, it's around 11:30 on a school night and she's up doing her homework, so either Grandma left her alone again or is home but doesn't enforce a reasonable bedtime.  Methinks Amira kind of raises herself; I hope she holds onto Amy's number.

Right! Grill lid. Thanks, @Bastet

Good points on Amira being home alone too late at night. I remember having the impression that while Grandma was a decent person, her parenting skills weren't the best--perhaps a realistic choice to explain why Amira's parent who was Grandma's child wasn't around to rear her? 
They could have otherwise had Grandma home asleep but with her hearing aids out. 

Share this post


Link to post
6 hours ago, shapeshifter said:

Good points on Amira being home alone too late at night. I remember having the impression that while Grandma was a decent person, her parenting skills weren't the best--perhaps a realistic choice to explain why Amira's parent who was Grandma's child wasn't around to rear her?

Yeah, I think Amira's grandma is a fairly typical representation of a woman who wound up raising her kid's kid for whatever reasons, and is keeping her safe in a bad neighborhood, but isn't a stellar guardian.  Because of that, it's kind of nice that there's no attention drawn to the late nights and lack of supervision; it's there for the audience to notice, but not harped on.

Shifting gears, I’m not sure how much it matters now that all the original discussion is vaulted and we’re in a new thread, but I’ll try to confine my comments to specifics not brought up in the old threads the last couple of times these season one episodes popped up in syndication.

Citizen’s Arrest:

I find it quite telling that Mrs. Barlow volunteers at a battered women’s shelter, since her husband exhibits several hallmarks of emotional abuse.  This is a high-stress situation, yes, but the asshole monitors his wife’s time in the bathroom and rails against the idea of her talking to someone after he’d ordered her not to.  The most they do is label him a “control freak,” but dude is on the abuse spectrum.

They missed comedic potential – and no, this is very much not a lighthearted episode, but a single moment would not have been out of place; it’s in fact common to the franchise – when Sharon gives Mrs. Barlow her phone and borrows Provenza’s phone to communicate with her.  When Mrs. Barlow calls that phone, which registers it as “Captain Raydor” calling, he should have had Ding, Dong, The Witch is Dead as his ringtone, a snarky nickname as her screen name instead, or something like that, and Sharon would have just raised an eyebrow, had the necessary conversation with Mrs. Barlow, and then made some delicious comment.  I can only write that off as Provenza not being tech savvy enough to bother customizing, because it’s a seriously missed opportunity.

I find it very disturbing that Andrea is down with, since Sharon isn’t there, the idea of letting Julio beat cooperation out of Gerald Hall, and I’m glad that characterization of her was dropped as the show went on.  Also that they dropped the stupidity of a lawyer saying she’s not sure a biological father who apparently never knew he had a kid, never mind didn’t terminate his parental rights, has any legal standing.

I know I mentioned this before, but I must reiterate how much I like this episode as the beginning of Provenza’s thaw towards both Sharon and Amy – he not just knows but outright says that Sharon is right and Andy is wrong about not telling the Barlows their son is dead, and he suggests Amy taking point on a couple of aspects of the investigation because of her SIS experience.  I also like that Provenza is already the lone hold-out just five episodes into season one; they all learned their lesson underestimating Brenda and being so resistant to change, so they’re generally going with the flow at this point, and it’s just Provenza’s personal frustration about having that brief glimpse of a command position taken away from him still causing any significant friction – much better than dragging out the squad-wide tension.

Out of Bounds:

This nicely follows on from the last, in terms of changing attitudes toward Sharon and Amy.  I don’t like that Amy has to take a beating to be accepted (and, jeez, watching it is painful, as is watching Scary Sanchez kicking Lamar), but putting her physical self on the line is mirrored by Sharon putting her job on the line (when Taylor says if her Plan B doesn’t work - if Lamar isn’t persuaded by Julio - it’s her job, not Julio’s, she just doubles down), and I do like the respect for both those things – Amy may be an eager beaver, but she has a particular set of skills and every bit as much dedication as anyone else, and Sharon may be new to “regular” homicide investigations (as opposed to determining whether a use of force that resulted in death was a homicide), but she is good at strategy, particularly as it involves putting full faith in each squad member’s particular strengths, and stands behind it and them.

Similarly, I like that Rusty volunteers to go with Sharon to check on Amy rather than being dropped off at home; the previous episode showed him starting to understand the difficulty of the squad’s work, so it’s nice that in this one he’s affected when Buzz tells him Amy got hurt and then wants to go to the hospital.

I know it’s just that they don’t want the scene interrupted with Sharon having to grab shoes and a blazer, but it’s distracting that as she and Rusty are cleaning up after dinner she’s still fully dressed so that she can just walk out the door upon being called to a crime scene.  But I love that Rusty acts like she’s going out clubbing every night or something now that he’s no longer under emergency care, she shuts his nonsense down, and the next morning he’s all solicitous, making her breakfast and offering to do it every morning.  His back-and-forth attitude towards her and his situation in general at this point is quite well done.  I love them at the end, with him saying if she doesn’t mind him hanging around, he’s happy where he is and doesn’t want to know about his biological dad.

I like the continuity of Mike mentioning his son Kevin is new behind the wheel, when we saw in season seven of The Closer that Mike finally relented and let him try for his driver’s license.  We don’t need to know that – he’s just commenting on how the combination of teenage drivers and LA’s particular brand of rain-induced hysteria among drivers could lead to road rage – but for those who do, it adds a nice layer of familiarity.

  • Like 1

Share this post


Link to post
15 hours ago, Bastet said:

Citizen’s Arrest:

. . . I find it very disturbing that Andrea is down with, since Sharon isn’t there, the idea of letting Julio beat cooperation out of Gerald Hall, and I’m glad that characterization of her was dropped as the show went on . . . .

What stood out to me was that Julio didn't hit or otherwise physically harm the kidnapper/killer--in contrast to other shows, like Elliot Stabler on L&O SVU. He just threatened and scared him. 

It was weird to me that the kidnapped teenage daughter was named Emily since that is Sharon's daughter's name.
Sharon doesn't even mention her daughter by name until Season 3, and this is Season 1.
I guess the writers forgot there was a victim Emily 2 years prior, or didn't think of it mattering when fans watched reruns or DVDs.

Share this post


Link to post
56 minutes ago, shapeshifter said:

It was weird to me that the kidnapped teenage daughter was named Emily since that is Sharon's daughter's name.
Sharon doesn't even mention her daughter by name until Season 3, and this is Season 1.
I guess the writers forgot there was a victim Emily 2 years prior, or didn't think of it mattering when fans watched reruns or DVDs.

Oh, I love how often they reused common names on this franchise; just one of the many realistic touches.  So even if someone had remembered there had been a victim named Emily, there wouldn't have been a "well, then we can't use that as Sharon's daughter's name" objection, and I appreciate that.  They even had two Sharons (actually, three, counting one of Provenza's many ex-wives, but she was only referred to once IIRC). 

They used Perry as a last name often enough I feel like it must be an homage to someone, but I haven't noticed a Perry in the credits, so it's either a friend/relative of one of the writers or someone just really likes it.

They also used the last name Chaidez twice, and that's not a common name, so I wonder about that one's significance, too. 

Share this post


Link to post

1.7 "The Shame Game" and 1.8 "Dismissed With Prejudice" re-aired this afternoon, in which the B plot is Rusty meeting his biological father.
I never noticed before how the eventual end of Rusty's relationship with his bio-dad was paralleled/foreshadowed by the relationship of the father and daughter in "Dismissed With Prejudice." In both stories, I never liked that they made the villains so uber-villainous. No shades of gray.

Share this post


Link to post

I wasn't home last night to watch those two and see if I noticed anything new, but The Shame Game is my least-favorite case of season one.  I hate the distorted sound they do when the killer realizes they're onto him, and I just don't connect to the case as strongly as I should to a story of sex trafficking.  At least they somewhat acknowledge the lack of logic in the "we'll take the death penalty off the table if you confess" carrot that cop shows, including this one, hang their hat on, with the killer scoffing that California basically doesn't execute people anymore.

But, oh my stars, I love the Sharon and Rusty story.  When he works himself into a lather over Cynthia bringing Daniel Dunn to the station, accusing Sharon of wanting to get rid of him, and Provenza steps in, the actors absolutely nail the scene.  Especially Mary McDonnell; when Rusty calms down and asks Sharon what she thought of Daniel upon meeting him, and Sharon says she can't say she liked him but she can't be objective, with her voice breaking there, and then forces out a comment that him showing up and waiting all day has to be considered while walking away, desperate to get out of there before she can no longer keep the tears at bay, and waving off Rusty's apology with an "I know" of forced nonchalance -- incredible.

I don't love the case in Dismissed With Prejudice, either, because it creates the impression it's a hell of a lot easier to overturn a conviction than it actually is, but I love what it gives Mike to do.  I like his interaction with Lydia, especially the horrifying moment when her dad tells her he wishes he'd killed her too and Mike pulls her shocked form into his arms.  That poor girl; she didn't exactly luck out in the mother department, either, because there's no passport for Lydia, so no indication Elaine was planning to take her with them when she ran off with Zapata.

And I like the continued exploration of how witnesses are treated in the criminal justice system, this time with the "blink and you'll miss it" fact the DA didn't even know where Lydia went to live -- once they testify and serve their purpose, the witnesses are usually non-entities to the police and prosecutors.

The continuing "What's this guy's angle and how do we handle the fact he has rights?" exploration of Daniel Dunn is good, and I like him teasing Rusty about wearing a suit to dinner.  And it's cute that picking out a suit (and a really ugly shirt and tie combo that probably had Sharon cringing in the store) was what Rusty took as a bribe for agreeing to go to dinner, because he'd never had a suit before.  It's not the sort of thing I'd have pictured Rusty being excited about, but it's sweetly innocent that he is, asking if it makes him look more mature.  Plus, it leads to him asking Provenza if he knows how to knot a tie and Andy - dressed dapper as always - standing next to Provenza - dressed, well, like Provenza as always - asking, "You're seriously asking this guy for advice about a tie?"  ("Yeah, why not - he's been wearing them for 100 years."  Ha!)

Edited by Bastet
  • Like 2

Share this post


Link to post
On 1/27/2019 at 7:03 PM, Bastet said:

I love what it gives Mike to do.  I like his interaction with Lydia, especially the horrifying moment when her dad tells her he wishes he'd killed her too and Mike pulls her shocked form into his arms.  That poor girl; she didn't exactly luck out in the mother department, either, because there's no passport for Lydia, so no indication Elaine was planning to take her with him when she ran off with Zapata.

I totally missed the point that the mother was abandoning her little girl. I hope the grandparents were decent. 

Michael Paul Chan did make the most of his scenes, but I still hate the bit where--after Tau tries to spin the father being reformed since he didn't make her testify against him at trial--Tau then arranges for the daughter to say goodbye to the father, only to have the father get in her face and tell the daughter his only regret was not killing her. To me this was an unsatisfying resolution because it put Tau in the place of having "failed" to protect the daughter from the father. I wish they hadn't written it that way, but I guess the idea was to leave the viewers sure that the father wouldn't try to fool her again.

 

On 1/27/2019 at 7:03 PM, Bastet said:

But, oh my stars, I love the Sharon and Rusty story.  When he works himself into a lather over Cynthia bringing Daniel Dunn to the station, accusing Sharon of wanting to get rid of him, and Provenza steps in, the actors absolutely nail the scene.  Especially Mary McDonnell; when Rusty calms down and asks Sharon what she thought of Daniel upon meeting him, and Sharon says she can't say she liked him but she can't be objective, with her voice breaking there, and then forces out a comment that him showing up and waiting all day has to be considered while walking away, desperate to get out of there before she can no longer keep the tears at bay, and waving off Rusty's apology with an "I know" of forced nonchalance -- incredible.

This should have had at least an Emmy nomination.
Likewise the closing scene when Rusty and Mr. Dunn go to get burgers and Sharon closes the door and leans on it with a look of dread on her face.

Edited by shapeshifter

Share this post


Link to post
23 hours ago, shapeshifter said:

This should have had at least an Emmy nomination.

And this was back when TNT supported the show; they probably did submit her for nomination.  Stupid Emmy voters.  That scene alone should have garnered a nomination for season one, and the showdown with Ricky in Sweet Revenge should have gotten her all the awards for season three.  Alas.

23 hours ago, shapeshifter said:

Michael Paul Chan did make the most of his scenes, but I still hate the bit where--after Tau tries to spin the father being reformed since he didn't make her testify against him at trial--Tau then arranges for the daughter to say goodbye to the father, only to have the father get in her face and tell the daughter his only regret was not killing her. To me this was an unsatisfying resolution because it put Tau in the place of having "failed" to protect the daughter from the father. I wish they hadn't written it that way, but I guess the idea was to leave the viewers sure that the father wouldn't try to fool her again.

Tao wasn't spinning him as reformed, though, just saying, well, give him this one thing -- he accepted a plea rather than making you testify again (her testifying, recanting, then recanting her recant would make cross examination brutal) or even just sit through another trial in which the details of her mother's murder were dragged out.  I don't regard the fact the father turned out to be even more awful than he'd thought as any failure with respect to Lydia; his success was in always believing her, and putting away - twice now - the man who'd killed her mother.  He protected Lydia from her father in that he supported her along the path of trusting her original memory, letting her learn she'd been right and did not, in fact, as a scared, mixed-up little kid send her innocent dad to prison.

23 hours ago, shapeshifter said:

I totally missed the point that the mother was abandoning her little girl. I hope the grandparents were decent. 

They obviously made clear how much they hated her dad, and normally bad-mouthing a child's parent to the child is poor form, but he killed their daughter, so I'm not writing them off for that.  They did raise someone who grew up to be an all-around cheat (from philandering to helping embezzle money) and who was going to abandon her child.  (And who drugged her kid with sleeping pills so she could sneak her boyfriend into the house for sex.)  But Elaine could have turned out like that in spite of good parenting, and Lydia seems a decent young woman despite emotionally-traumatizing circumstances, so hopefully they did indeed give her a good home.  Because that girl has been through some shit.

Share this post


Link to post
1 hour ago, Bastet said:

drugged her kid with sleeping pills so she could sneak her boyfriend into the house for sex.

Oy. And I missed that too. Lydia's Mom was right on par with Rusty's.

Share this post


Link to post

The timing of Cheaters Never Prosper always confuses me; working backwards from when Sharon says it’s Saturday, Daniel Dunn was originally supposed to pick Rusty up "for the weekend" on Thursday night.  First, Rusty is in school (and Daniel is an expensive cab ride away [and I love that Sharon gave him $100 just in case]), so why is he off Friday?  Granted – and, yes, I confess I looked this up - the day this aired (10/8/12) was a holiday, the odious Columbus Day, but within the show the day Dunn turned up a day late was a Friday.  I’ve never heard of getting the Friday before Columbus Day off even at institutions that close for the Monday holiday.  (And his school recently did the faculty retreat thing to explain a Friday off, so I doubt they’d have another one so soon).  But, regardless, starting Thursday night would have been a really long weekend for a first overnight visit, so it bugs. 

But I’ll let it go because of how much I love Sharon and Rusty’s first hug.  She’s held herself back from touching him so many times out of respect for his reticence, but if she’s going to send him off to Daniel she’s going to do it with a hug.  And the way Rusty slowly melts into it makes me ponder when the last time he got a proper hug probably was, and it’s heartbreaking.  And then she adds on that extra squeeze before letting go.  And starts to tell him to be careful, but changes to telling him to have a good time before awkwardly walking away.  It’s a beautiful scene. 

I also love the “Miss you” at the end of Rusty's text saying he got there okay.  My favorite part of that scene, though, is the smile I get from thinking of the blooper reel, when Mary McDonnell’s conclusion to the narrated email is, “You sign it Captain Sharon Fucking Raydor, and we go home.”  Must have been a late night filming.  (This episode looms large in the season one blooper reel; G.W. Bailey getting increasingly goofy with the “What?” reaction to “Vegas has a lot of scams” and the rest of the cast increasingly losing it in response is tremendous fun.)

Sharon’s “We’re past the apology phase of our relationship with Mr. Dunn and have moved into the ‘Don’t let me drive over to his house and shoot him in the head’ phase” is fabulous.  I also love that this is how Rusty finally tells the whole story of how he got left at the zoo, that he finally hit Gary back and the next day they ditched him.

I have an issue with the resolution of the case, though.  Sharon, especially, and Andy ride the partner, Connor, hard on brushing stalking off as “pursuing” and are appropriately disgusted by Adams’s behavior, but when dealing with this specific victim of it they seem to lose sight of that somewhat.  I completely understand that Laura Elkins was more motivated by keeping her husband from finding out than anything else and that she jumped to (pre-meditated) murder without trying anything other than telling Adams directly to get lost, but they seem to gloss over the obstacles to a woman reporting a cop for this sort of thing, especially since that asshole had ignored a good thirty refusals, turned up in her home, etc.  He’s a nutter, but he’s a cop and she had previously slept with him voluntarily; please acknowledge how far behind the eight ball she’d have been had she instead chosen to do things right.  And then there’s some shaming with never having slept with the guy to begin with being listed as one of her options to avoid all this.  It has all never sat quite right with me.

The identity theft part is fun, though, for Amy’s reaction to Dr. Blowhard/Dr. Goofball, especially “You have the right to remain silent – and I can’t wait for that.”  And Provenza rattling off all his identities and asking, “Are you sure none of you want an attorney?” and calling him Dr. John Jacob Jingleheimerschmitt.

It’s always interesting to me (and I assume this started with The Closer, but I didn’t check the last time I saw it in syndication) that when the squad is just working in the office (as opposed to interviewing someone, or being out in the field), in addition to usually having their jackets off, Julio and Mike have their top shirt buttons undone and ties slightly loosened, Provenza has his top two buttons undone and tie totally loosened, while Andy has his perfectly done up.  It's such a great character touch.  In this one, I noticed for the first time tonight that when Sharon calls the office late Friday night, Andy has his tie just slightly loosened.  Now it will be a viewing game to see if that ever happens again.

Edited by Bastet

Share this post


Link to post

I love the way Long Shot is edited, as it weaves in past events with the current investigation very well.  But two things bug me: that it takes them as long as it does to figure out the judge may have been the target all along and, most of all, the fuckery with the assassin’s car.

Why does he leave the mirror behind?  Having it missing confirms his story when he later asks the beat cops for help with his "some kid hit my car" story, sure, but it also in the immediate aftermath of what will inevitably be a high-stakes investigation makes his car the one to look at among those leaving the garage shortly after the shooting (and thus a distinguishing characteristic when they put out a BOLO, which they inexplicably do not do).  He’d have been better off busting it off later, or at least not leaving it behind.  And WTF? with how the ATM footage can be, with pixel magic, cleaned up to capture Angel’s license plate, but they never even try to find the assassin’s plate?!  It’s the same angle.  But they just zoom in on the missing mirror and never even mention the plate.  They should have been much closer to identifying the car, with some shenanigans (he is a “ghost” after all) explaining why identifying the car didn’t mean identifying him, and then the exact same pace could have played out.

I can’t decide if it’s annoying or refreshing that this “ghost” misses Angel twice; Angel is moving both times, so it’s nice that he can’t easily be taken out, but it’s so at odds from what we usually see of high-paid hit men on a cartel’s payroll.

I also don’t understand why the ghost comes up out of the manhole to stake out Angel once Angel’s car is moved to the alley; it’s a dark alley, can’t he just hide out there like a normal person?  I guess avoiding cameras, since he can come up right by the car rather than walking in from one end or the other, but he had to get into the drain system somewhere and if someone happened to see that, they'd report it.  Plus, if he's avoiding possible cameras, that goes back to the stupidity of leaving the mirror behind making his car so obvious on the even more inevitable camera footage (downtown corner vs. back alley).  I guess this is a “you can’t have it both ways” thing for me.

But I love Rusty becoming, with an admittedly strange sense of happiness, a ward of the state.  (“You’re not an orphan; you may not have a mom and dad, but you are family.”)  Set up by Sharon’s perfectly ignoring Daniel’s calls so she can capture something usable once he inevitably shows up on his own and establishing a situation in which signing away his parental rights and suffering the fallout with his fiancée is preferable to the arrest he so richly deserves.  And her “Honey, I do this for a living” to Rusty is fun, and lovely in that she ultimately leaves it up to him; she can still arrest Daniel if he really wants, because he was the victim of a crime.

And I like the case on the whole; I love Sharon easily handing the case off to the FBI (so starkly contrasted with Brenda’s many fits over federal jurisdiction), doing the “of course, we still have a legal obligation to determine the identity of our witness and we don’t want to send the FBI down the wrong path until we confirm” routine to her team to nevertheless keep investigating something they do have jurisdiction over, but then indeed cluing in the FBI upon that confirmation to launch a joint effort, much to Provenza’s distress (“it’s like working for a hall monitor, every day").  Taking Provenza’s arm as they walk into the restaurant undercover never fails to make me laugh.

And, as I noted shortly before the original forum was vaulted, I recently noticed that in the call she takes from Mike while in the car with Provenza, just before that amusing scene of taking his arm, Mike calls her “captain” during the course of it, but in saying goodbye calls her “chief.”  Also, as a new bit of trivia, as she takes that call, the radio station she’s listening to is The Wave (a “smooth adult contemporary” station [having transitioned from “smooth jazz” to soft-rock, -pop, and -R&B], which is one of my presets, too.

Mr. Reyes really gets to me.  They contrast him with Daniel, what good fathers are willing to do and how bad ones fall short, but I get wrapped up in his story more than I think they even intended.  He had a career he was proud of in Juarez, but, as a legit cop in a corrupt system, he saw his wife and all but one child killed, so he gave it all up to work as basically a maintenance man, undocumented, losing virtually all respect and living in constant fear of deportation, to keep his remaining son safe.  It looks like what he's ironing when the killer comes calling are Angel's work clothes.  And then he’s killed.  It hits me hard.  I like the touch that Angel is able to give such a good description, because of his dad’s influence; the way they all smile as he does so is bittersweet, knowing they still have to tell him about his dad.

Edited by Bastet
  • Like 1

Share this post


Link to post

Regarding "Long Shot"

On 2/2/2019 at 11:27 PM, Bastet said:

And her “Honey, I do this for a living” to Rusty is 

I wonder if this is the first time Sharon addresses Rusty as "Honey." I know the textual context of "Honey" could make it a prelude to a joke, but Sharon is not that kind of kidder, and it's not a joking matter.

 

On 2/2/2019 at 11:27 PM, Bastet said:

“You’re not an orphan; you may not have a mom and dad, but you are family.”

Although right after this statement by Sharon to Rusty the camera pans the squad as seen through Rusty's eyes, to me it  is demonstrated even more clearly earlier in the episode when Rusty's bio-dad (who the squad knows to be responsible for Rusty's injuries) walks past the squad, and, as he glances over his shoulder, the camera shows us convincingly realistic hate-filled looks on both Provenza's and Buzz's faces. 

Edited by shapeshifter

Share this post


Link to post

Ugh; Rios.  She’s such a dark cloud over what is nevertheless one of my favorite seasons; at least I can take great recurring joy in how much Sharon hates her and how often she dismisses her.  “One of the nice things about me, DDA Rios, is that when I’m really unhappy about something, people never have to ask.”  Hee.

Yep, season two started in syndication tonight, and I love what an asshole the director is in Final Cut; he’s awful, and those poor kids of his are painful to contemplate, but on the whole it’s entertaining to watch because they’re having such fun presenting a horrible character entertainment industry character, and I love when they do that.  Like when they give him the press release to review and he holds his hand out for Julio to give him a pen without so much as glancing in Julio's direction.  I also find it hilarious that not only does he have an obvious physical type, his wives/mistresses all have names like Brittany, Gretchen, and Ashley.  Sharon’s reactions to him throughout are great, and I especially like “You’re their father?” when he asks what his kids are doing there after their mom was booked for killing their stepmom.

My complaint with the case is the deal they make; Ashley killed the first wife, too, but they easily trade that away for a confession to the murder of the pregnant third wife, because that gets them a (first-degree) double homicide they can use as leverage to get her to plead to two second-degree charges and be done.  So they prioritized a fetus over a person and, in so doing, kept a homicide on the books as a suicide, leaving the victim's family to continue believing she killed herself.  And Brittany was pregnant at the time, too, but they have less evidence, so they just let it slide.  It has always irked me.

But I like the episode otherwise.  In addition to Sharon’s smirking, snippy, snotty attitude towards Rios (an aspect of Sharon we don’t see as much of in this show as we did The Closer since the squad and Rusty both came to accept her about halfway through season one), there’s great humor in Andy's attempts to get healthy in a hurry for his upcoming physical – not to mention Provenza's reactions to his shenanigans.  Plus my irrational affection for Sharon poking Julio in the chest with the clipboard; she does stuff like that, and I love it every time.  I also get a good smile out of her look of pride when Amy comes up with Celebrity Threat Division on the fly.

Plus we get the introduction of Provenza's printer change jar.  I love that this random little thing at the beginning of season two continues for the rest of the series – from this point on, we see the gang depositing their coins, often quite amusingly in the background.  It’s a wonderful little touch, and so very Provenza, that he'd use the money from something he hates - the trophy proclaiming him the last person from his academy class still on the job - to buy something for the squad, but turn around and implement his "pension enhancement fund" by charging for the wireless password and per page (with a friends and family discount for the latter, which we later see not only the FBI, but Taylor, is ineligible for, heh).

On the flip side emotionally, Sharon has to get Rusty to change his tune in 24 hours, but knows she can’t tell him if he doesn’t he’ll be kicked back to DCFS and placed elsewhere because threatening his stability would lead to the worst outcome, and she navigates that Rios/Taylor/Rusty minefield like the master she is so that Rusty agrees to sit down with Emma without ever knowing his home was on the line.  Also, her "pleading the Fifth" conversation with Rusty is probably the best example of a recurring theme revealed over the first couple of seasons by numerous little things showing that Rusty is simultaneously smart and under-educated; he learns quickly, but he’s behind kids of his age and intelligence because his mom moved him around so much (resulting in him attending numerous different schools), didn’t provide any education at home, and ultimately abandoned him to fend for himself on the streets.

And Rusty not wanting Sharon or Provenza to be there when he answers Rios’s questions is heartbreakingly sweet; they know the gist, and no details could change how they feel about him because he was a victim, but he’s afraid it will and doesn't want them hearing it.

It’s similarly touching in False Pretenses that he’s upset about being under something close to house arrest because of the threatening letter, but instead of flying into a petulant rage like he would have done just a short time ago, he accepts it, because it means he gets to stay with Sharon.  Their relationship is so sweet (and entertaining, like when he says it sounds like he has a choice and she responds, “That would be misleading”), and I love that it also continues to give her a great professional argument to keep Taylor on her side when Emma wants him out of Sharon’s house – keeping Rusty with Sharon ensures he’ll be around to testify, while putting him back into the system likely means he’ll bolt, and then what of the Stroh case.  And I really love, “He doesn’t need to understand; he needs to stay safe.”

There’s some funny stuff in this one, too – Andy’s continued attempts to cram for his physical (“ginkgo balboa” and the fact he got suckered into this cleanse by a “cute girl at the health food store”), the gossip site guy, Mike choosing Mr. Clean as his Dude Ranch username and running his hand over his bald head as he announces it, Amy looking to Sharon for approval on her “maybe [victim] forgot his safe word” joke, Taylor’s “buh-bye” to Emma straight out of the SNL flight attendant skit, Mike and Andy’s faces when the gossip site guy shows them the bare chest photo from Dude Ranch, and Taylor’s reaction when he realizes Sharon manipulated him into issuing a false press release.

Of course, we also get more Emma, including the expansion of her squeamish reaction to crime scene photos in her first episode with the beginning of her ridiculous “comes to the crime scene and freaks out” routine and the introduction of Julio’s crush on her.  Blech; but, as always, everyone else’s reactions to her are fun. 

And the case is good.  I love Amy’s reaction to Janet’s abusive husband, including at the end when Provenza says he cried his eyes out upon learning his wife is dead and she has absolutely no shits to give about that guy.  (And I like that, in the interrogation scene, they maintain continuity that there is water on both him and the table as the scene goes on after Provenza tosses water in his face.)  And I like the unveiling of the killer’s story, that his robbery routine started completely due to circumstances, taking a watch from a sleeping guy who probably to this day doesn’t know it’s missing.  But then he started pinning and handcuffing guys while he stole their stuff (and how did they all get uncuffed, or dial the phone to summon a friend to help them?), and ultimately he kills two people, staging that double homicide to look like a murder/suicide.  I think this case is also is the introduction to the curly-haired PD Jennings, and I like him.

Edited by Bastet
  • Like 1

Share this post


Link to post

Great recaps, @Bastet.
This is the first time I am watching the episodes on a normal sized screen with captioning and consecutively. All of that combined with your recaps being posted from the day before (you get them Saturdays; I get them Sundays) gives me a chance to notice (and often appreciate) things I missed previously.

17 hours ago, Bastet said:

Ugh; Rios.  She’s such a dark cloud

17 hours ago, Bastet said:

we also get more Emma, including the expansion of her squeamish reaction to crime scene photos

I now have a theory that the character of DDA Rios was written to give then-mid-30s Nadine Velazquez an opportunity to show off her acting skills as a villain or a comedian, rather than just using her as just an exceptionally well proportioned female plot point.
Still, it's all a little OTT, whereas the other characters' turns of wrath or humor feel more anchored in the story.
Kearran Giovanni (Amy Sykes) is just as gorgeous, and is also a late comer to the show (not from The Closer), and I think it's good that they quickly toned down her bits of blurting out information in front of the wrong people at the wrong time and just let her have a few fun comebacks and some moments of anger at perps.
In "False Pretenses" I thought it would be revealed that she was yelling at the person of interest in the interview room to get him to show his violent side rather than just because he was a wife beater, but they didn't go there. They never seemed to give her character much nuance.

Share this post


Link to post
9 minutes ago, shapeshifter said:

I now have a theory that the character of DDA Rios was written to give then-mid-30s Nadine Velazquez an opportunity to show off her acting skills as a villain or a comedian, rather than just using her as just an exceptionally well proportioned female plot point.

I'm still curious as to whether she was a network suggestion or an idea of James Duff's, because she's so out of step with the franchise.  It features people old enough to have accumulated the experience necessary to be in charge of the big cases, who dress professionally, and who aren't ogled by the camera/other characters.  Then Rios comes along like something out of another show, a typical DA Barbie in inappropriate clothing and who would never, ever have been assigned the Stroh case or even half the Major Crimes cases she handles yet inexplicably is suddenly attached to their cases.  It's not the sort of thing Duff or the TNT executives at the time were prone to, so I have no idea why she exists as she does.  That there's an antagonist, I understand, because Pope isn't in this series and Taylor became far less underhanded once he got the Asst. Chief position.  But why she's dressed like the stereotypical hot young thing and written to flail about in the morgue, at crime scenes, and even when looking at crime scene photos like a melodramatic teenager instead of a DDA when this franchise is usually so much better with female characters has always baffled me.

From interviews with producers, it sounds like the audience hated her a little more than they intended (but what the hell did they expect when she introduces herself by calling Rusty a "whorephan" and goes on to be disrespectful to everyone, especially Sanchez?!), and that's why the writing for her changed.  Too little, too late for me; she doesn't even begin to ruin the show for me, but I never like her, and I'm very happy Andrea Hobbs became the go-to prosecutor.

17 minutes ago, shapeshifter said:

In "False Pretenses" I thought it would be revealed that she was yelling at the person of interest in the interview room to get him to show his violent side rather than just because he was a wife beater, but they didn't go there.

Oh, it seems to me to be both - she's disgusted with him on general principle because he's an abuser (Sharon and Amy are both written as having no time for such jerks), and she uses his issues with women standing up to him to rile him up into showing his true colors.  The "guys like you" needling she employs is similar to Sharon goading the abuser in season five's Heart Failure into coming at her so they have something - assaulting a police officer - to hold him on and buy them some time.

Quote

This is the first time I am watching the episodes on a normal sized screen with captioning and consecutively. All of that combined with your recaps being posted from the day before (you get them Saturdays; I get them Sundays) gives me a chance to notice (and often appreciate) things I missed previously.

I've watched all the episodes maybe half a dozen times by now (well, all of them in seasons one through five; season six, only twice in its entirety -- yep, still bitter, probably eternally), and this time around I'm still noticing something new every few episodes!  That's a sure indication of a good show; the actors are so great, there are so many layers, including all sort of little things going on in the background it takes me a while to notice, and the writing is so sharp that I get caught up in the big picture and don't notice little inconsistencies until I'm a few viewings in.

  • Like 3

Share this post


Link to post

DDA Rios was such an out of place, and awkward character that I almost stopped watching the show.   I was so glad to see Andrea Hobbs back.   However, I still think they could have done something else with Sharon's character besides kill her off.  

Maybe leave her in the hospital before and after transplant, and then she would retire.    

Edited by CrazyInAlabama
  • Like 2

Share this post


Link to post
On 2/12/2019 at 8:38 AM, CrazyInAlabama said:

Maybe leave her in the hospital before and after transplant, and then she would retire. 

I'm forever bitter at Sharon's death, but while I wish Duff had skipped the health crisis altogether, once he gave her the world's most rapidly progressing case of cardiomyopathy I'd rather a sudden death doing what she loved than languishing in a reduced life on forced medical retirement.  I wanted her healthy and in charge when the show ended. 

Speaking of medical conditions, send in the folks in white coats, because I’m actually mourning the loss of the archived forum for this show (the entire M Vault went poof in the server switch, and is not coming back); over 5,000 posts about one of my favorites gone for good (the Wayback Machine’s offering is quite limited), and when episodes come up in syndication, I liked looking back and seeing what we all said at the time.  And the thread for the episode in which Sharon dies was like an online support group, although at least that one is available via the Wayback Machine.

Sigh.  But getting back to the syndication schedule …

Under the Influence is the introduction of Badge of Justice, and it’s described as being about a unit fighting crime and corruption inside the LAPD.  That seems to have been dropped/forgotten as the show went on, because every time we hear about a Badge storyline, it sounds like a “regular” investigation, not an internal one.  It also begs the question why Mike, not someone in Professional Standards, was who Pope recommended as a consultant.

I get a good laugh out of Rusty being excited upon learning Jason is a TV writer, and then losing all interest when the answer to what show is “it’s not on yet.”

Sharon’s annoyed reactions to the writer amuse me throughout, and I particularly love her little “you deal with this” whimper and facial expression to Andy when Jason objects that it’s a civil rights violation to listen to the suspect’s conversation with his lawyer.  But I loathe the PATRIOT Act with the heat of a nova, so this is not at all a favored investigation.  And they overstate the defense of property affirmative defense; most cop shows are wrong about the law all over the place, but this one is usually impressively realistic, so even that difference of degree bugs.  They’re also flirting with a Johnson Rule violation with Mrs. Vega.

I do like this exchange, though:

If Julio is right-
I am.
And our suspect is cartel-
He is.

And the chase scene is fun.  I crack up at Jason asking why Julio isn’t buckled up, hearing it’s so Julio doesn’t get killed if someone starts shooting and he can’t get out, starting to unbuckle his own seatbelt, and being told he can’t because he signed a liability release; if he gets shot, they’re covered, but if he gets injured in a wreck, then the LAPD is on the hook.

Plus, Hobbs, not Rios, is the DA, so that’s a relief. 

And I absolutely love every single thing about Rusty’s practice college essay.  First he bursts into the Murder Room declaring he’s in the midst of a crisis – causing Sharon to worry he’s received another threatening letter – and it turns out it’s because his teacher rejected his essay.  Then Sharon says that does not sound like a crisis, but Buzz replies she hasn’t read it yet; Sharon says she doesn’t have time, but moments later when she complains they’re stuck doing nothing, Rusty jumps right back in and she gives him a great “talk to the hand” dismissal.  Shortly after that, everyone’s reaction to the first line ensues and that’s followed by Sharon telling him she’ll take his phone and laptop away if he doesn’t re-write it (“Those are MY things, and using them is dependent on making mature decisions”) and Jason asking, “Are you sure she’s not your mom?”  Later we get Sharon knowing he didn’t write the version that’s about her and telling him to re-write it yet again, and close with Rusty’s version about the lessons his mom taught him.  I love it all.

I, Witness, I love almost every frame of.  I am oddly distracted, this many viewings later, that when they drop Lloyd off at the motel, they park on the street rather than the lot (and it’s not like they look and see it’s full [and there is an open spot – and some nicer cars than one would expect at that kind of place]).  And I might otherwise object to Sharon needing to be the one to point out Lloyd being discredited rather than killed is so he can't testify AND his preliminary hearing testimony (which was cross-examined, which is constitutionally key) will be excluded, but a) Sharon – who wanted to be a lawyer, and who undoubtedly helped Jack study in law school/for the bar – consistently thinks like a lawyer and b) Rios is a fucking twit, so I’m fine with it.

My only true issue is not with this episode, but with the subsequent handling of something raised in this episode:  Sharon picking up on Rusty telling Kris he’s had “threats” (plural) gets dropped, and she doesn’t find out until Kris tells Emma about the letters, and that just doesn’t work for me; Sharon would continue honing in on that potential discrepancy, despite Provenza’s dismissal, and work it into conversation with Rusty on a fishing expedition.

So I essentially have not even a quibble with the episode itself; it’s such a good caper.  Lloyd stays just this side of too cartoonish to be accepted and is thus incredibly amusing.  Even Shampagne is used just enough to make a caricature delightful to watch.  “She is honest, dependable, and absolutely not a prostitute … Her name is Shampagne, with an S.  And she has a website.”  (“The three Xs make it classy, ma’am” – at which Rios takes Amy’s usual role in joining Sharon in her "men, amirite?" reaction.)

I love that Flynn and Provenza think they’ve got it made when Sharon sticks up for them with Rios and snottily dismisses her, but then she delivers a perfect “Eh-eh” as they’re about to escape her office, pointing to her chairs and ordering, “Sit.”  Heh.

And there’s such good stuff from Andy and Provenza (and I love that they’re much more caught up in circumstances than bumbling into a blunder and making it worse like they so often were on The Closer; those episodes were quite funny individually, and I laughed my ass off at Brenda's and Pope's reactions to the duo, but as a pattern they were troubling):

“One minute I’m arguing with my ex-wife, the next I’m waking up in an ambulance with some guy asking me who the president is.  And, by the way, if you don’t want the full work-up, don’t say Jimmy Carter.”

“The side effects could make me moody, irritable, quick to anger …”
“Good to know the difference.”

“For God’s sake, Flynn, I take twenty pills a day, with three glasses of wine.  And look how healthy I am.”

It’s also incredibly sweet that in the midst of all the joshing, Provenza really does devote himself to running interference in an attempt to reduce Andy’s stress.   

Mike gets some particularly funny stuff in this one, too:

“I’m missing all the clients who depend on me for conversation.”
“Oh, don’t worry, I’m sure those guys are just talking to themselves.

“Let me see if I can fix it.  [Techy jazz hands upon her skepticism]  It’s made in China.”

I love Sharon spying on Rusty and Kris throughout, providing several delightful little moments of body language, and her saying it without saying it reaction to Provenza thinking Rusty is going to ask Kris out is great – which has nothing on her adorkable dash out of Electronics to stare at an empty file folder when Buzz points out Rusty is on his way to talk to her.  It’s obviously terrific that she gives Rusty all the freedom in the world to come out on his own terms, and it also leaves room for some funny stuff along the way, and this is the start of it.

And their exchange about why Kris is in summer school is classic parent/teen, with Rusty’s sarcastic answer and Sharon’s ha-ha, now tell me the truth response.  “Do you need to know absolutely everything?/Yes, actually” is a great conclusion to it.  (But here’s my other distraction – we’ve just established it’s summer, and we can see through the condo windows that it’s typical L.A. summer weather.  So why is Sharon putting on a coat over her blazer, an item not even needed for much of winter here?) 

It’s a little thing, but I am tickled by Judge Richwood also doing the earlobe thing to reduce his blood pressure during the request for a continuance.

Julio’s crush on Rios is sort of a transition period for him, moving a step away from the gross creeper he’d been in The Closer.  I like him pausing in the midst of checking on Andy to flirt with her.  And his, and everyone’s, reaction to “Detective Lopez” is good.

Random note: I appreciate the touch that when Sharon asks, “Please, somebody shut that door!” when Lloyd is hollering out that Shampagne isn’t a prostitute, they included the sound of a door shutting.

Also, Kris’s mom dressed her up “like a doll” in her outfit for the political fundraiser, fine, but looking under the table at the shoes - which I finally did after several viewings - she dressed her teenage daughter in some seriously high and pointy heels.  She’s got a dress and necklace that would fit right in, and then super-sexy shoes.  WTF, Mrs. Slater? 

Edited by Bastet
  • Like 1

Share this post


Link to post
2 hours ago, Bastet said:

Speaking of medical conditions, send in the folks in white coats, because I’m actually mourning the loss of the archived forum for this show (the entire M Vault went poof in the server switch, and is not coming back); over 5,000 posts about one of my favorites gone for good (the Wayback Machine’s offering is quite limited), and when episodes come up in syndication, I liked looking back and seeing what we all said at the time.  And the thread for the episode in which Sharon dies was like an online support group.

Sigh.

I may be of some small use here, @Bastet.
It seems that 6.9 was actually included in the thread titled, "S06.E08: CONSPIRACY THEORY PARTS THREE AND FOUR" (even though it only has "S06.E08" in the title).

Here are the 4 pages' links from the Internet Archive/Wayback Machine for
"S06.E08: CONSPIRACY THEORY PARTS THREE AND FOUR":

  1. page 1
  2. page 2
  3. page 3
  4. page 4

And, here are . . .
S06.E10: BY ANY MEANS PARTS ONE AND TWO" (which includes 6.11):

  1. page 1
  2. page 2
  3. page 3

S06.E12: By Any Means Part Three

  1. page 1
  2. page 2
  3. page 3

S06.E13: By Any Means Part Four

  1. page 1
  2. page 2
  3. page 3
  4. page 4 (Google cache only)
    page 4 (saved to shapeshifter's daughter's site)
Edited by shapeshifter

Share this post


Link to post

Oh, yeah, season six episode threads, the media thread, character threads, the old "past seasons" thread, etc. are archived because that main section was captured in 2018, so you can see that stuff via the Wayback Machine.  But individual episode threads within the Past Seasons (1-5) subsections are sporadic. 

The M Vault was not captured by Internet Archive in the short time it existed, so the best option is the most-recent version of the MC forum that was archived before it was vaulted, and that was back in July.   Back then, there was a Past Seasons subsection, and episode threads within those five past seasons subheadings are harder to come by, especially for the earlier seasons - a lot of those individual threads were never archived so the Wayback gives an error message (plus, it thinks those pages are available on the web, I guess because the site itself is still active).  So, a lot was lost.  <sniff>

Edited by Bastet
  • Sad 1

Share this post


Link to post
17 hours ago, Bastet said:

Under the Influence . . .
Shortly after that, everyone’s reaction to the first line ensues and that’s followed by Sharon telling him she’ll take his phone and laptop away if he doesn’t re-write it (“Those are MY things, and using them is dependent on making mature decisions”) and Jason asking, “Are you sure she’s not your mom?” 

I adored the character of Jason. Sadly, it was his only appearance on the show, but good for actor Ben Feldman, he was very busy with other projects.

18 hours ago, Bastet said:

I, Witness . . .
Also, Kris’s mom dressed her up “like a doll” in her outfit for the political fundraiser, fine, but looking under the table at the shoes - which I finally did after several viewings - she dressed her teenage daughter in some seriously high and pointy heels.  She’s got a dress and necklace that would fit right in, and then super-sexy shoes.  WTF, Mrs. Slater? 

During this re-watch I concluded that we were supposed to think Kris was lying about her Mom having dressed her up, just like Rusty later lied about Sharon having refused to let him take Kris to the movies -- that Kris was dressing to look attractive to Rusty--certainly not slutty, but clearly a member of the opposite sex. Unfortunately (or not), for Kris, she might have had better luck with a more androgynous style.

Share this post


Link to post
1 minute ago, shapeshifter said:

During this re-watch I concluded that we were supposed to think Kris was lying about her Mom having dressed her up, just like Rusty later lied about Sharon having refused to let him take Kris to the movies -- that Kris was dressing to look attractive to Rusty--certainly not slutty, but clearly a member of the opposite sex.

She doesn't play that way to me; her tone and body language when she says her mom picked out the whole outfit, it's not something she'd choose on her own, and "sometimes she treats me like a doll" seems completely genuine in her "ugh, parents" and "ha ha, red carpet, I know" teenage frustration, and the few other times we see her in something other than her school uniform, she's in a less flashy style.  And her jewelry, hair, and make-up when she's in her school uniform also suggest she is indeed not one to doll herself up in that particular way. 

It's kind of funny how many people who Rusty encounters are attracted to him, though -- Kris plus every gay guy he encounters other than Jeff, the A.D. on Badge of Justice.  The friend from chess club wanted to be more than friends, the friend of Lina's made eyes at him in Do Not Disturb, and then there was T.J. and eventually Gus (who, I learned recently by coming across an old interview with Rene Rosado, was just supposed to be Marianna's brother, but then James Duff decided to bring him back with the hots for Rusty, so that explains why Gus having feelings for him when he returns to L.A. for the trial makes no sense based on what we saw of him initially).

  • Useful 1

Share this post


Link to post

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×