Word: crocketts
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...music, artful composition. In one of the season's best episodes (written by Playwright Miguel Pinero and directed by Paul Michael Glaser, the former co-star of Starsky and Hutch), Glenn Frey's song Smuggler's Blues both enhances the mood and comments on a tense story in which Crockett and Tubbs pose as drug dealers to set a trap for a vicious kidnaper. In the climactic sequence, the cops race to defuse a bomb that has been wired to Trudy, the detective who has served as bait. After a narrow escape, the culprit is revealed to be a police...
...another episode, Crockett's infatuation with a new girlfriend is distracting him from a case involving a gang of murderous youths. One morning he fails to show up for surveillance duty with Tubbs, who as a result is beaten up by a pair of thugs. No words are spoken between the partners; everything is conveyed by looks of recrimination and guilt. Indeed, the pair say nothing at all to each other until Crockett's redemption at the episode's end, when he comes to Tubbs' aid in a tight spot. Again there are no heavy- handed closeups or explicit dialogue...
...took a few episodes for Miami Vice to hit its stride. The earliest segments were sprinkled with predictable character exposition and comic relief. Crockett, for instance, was an ex-college football star with a wife suing him for divorce and a "funny" pet alligator named Elvis. Two mid- season changes were crucial. The alligator, along with most of the comic relief, was dropped. And a riveting new character, the brooding Lieut. Castillo (played with remarkable power by Emmy Nominee Edward James Olmos), joined the show. Castillo, Tubbs and Crockett bear less resemblance to other cop-show protagonists than to classic...
...emerge from the underworld each week are the most vividly portrayed evildoers on TV since Eliot Ness squared off against Frank Nitti on The Untouchables. Even more striking, however, is the show's depiction of the temptation that evil presents to basically good men. It is no accident that Crockett and Tubbs frequently go undercover, and seem to blend in perfectly when they do. Moreover, the show's most powerful episodes deal with law-enforcement officials who have gone over to "the other side...
...show's directors are encouraged to look for creative ways to use music. "What I wanted to do was not to use music as just background but as psychological subtext, if you will," says Thomas Carter, who directed the pilot episode. "What I felt was happening to Crockett at one point was he had lost touch with reality. His marriage had fallen apart, and he had discovered that his ex-partner was leaking information to the bad guys. So I said, 'I want to do a sequence with Crockett and Tubbs in a car, lay some music over...