MovieChat Forums > Simon & Simon (1981) Discussion > Looking at episodes from seasons 7 & 8

Looking at episodes from seasons 7 & 8


I am going to group these seasons together when I do my reviews, since they are shorter seasons and they come after the departure of Tim Reid.

First, I wanted to describe the "drama" I had today getting these episodes. I had forgotten that the mail was delivered yesterday, the 31st. So I went down to the mailbox and the discs with the whole series I had ordered from a vendor on iOffer were already there. I was excited they had arrived ahead of schedule. I took them back upstairs and eagerly tore the package open to check them out.

The discs were unusable.

They were copied from A&E. That in itself would not be a problem, but there was so much pixilating of the screen image. I couldn't even watch it for more than two minutes. When it wasn't pixilating, it was blurry. And the sound went up and down in the scenes. I fast-forwarded to other scenes and it still happened. I even put in three other discs and those were just as bad. On the iOffer site, the vendor listed these as a video quality of 8. They're nowhere near an 8; they are more like a 4, and that's being generous.

I went on to Amazon and ordered brand new copies of seasons 7 & 8. I didn't realize I had a credit in my Amazon account from other transactions, so the two seasons ended up costing $8. Actually $43 when I factor in what I wasted on iOffer.

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Sorry to hear about your bad experience. If there was such pixellation, I wonder if the seller had taken the episodes from YouTube rather than from the television. Television recordings shouldn't be that bad quality! And I quite understand your not wanting to waste money. Who does!

Still, it's good that you'll be able to see these episodes after all. I'll look forward to seeing your opinion of them in the days to come.



~~~~~~~~~~~~~~~
I find concussion quite invigorating.

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Thanks for the reply tenement-funster.

On iOffer, you cannot rate the experience with the seller until 7 days after delivery-- this is done so the buyer and seller can work out whatever problems may arise before a negative rating is issued. So I had emailed her and said very generally the discs are unusable. She just replied back and wanted specifics. So I basically copied and pasted what I had written earlier in this thread and sent it on to her.

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Sorry to hear about the problems you have with your discs, but the general rule is that you NEVER buy "complete series" of anything unless they're the official releases by the studios. If it's not an official release then you can bet that it's something someone recorded off their TV which I'm sorry to say usually means it's crap. I'd never risk it. If I can't have the real deal then I don't want it. Even if it's super cheap. You'll find better quality stuff on YouTube or DailyMotion than these bootleg products.

Connery, Moore, and Brosnan! Accept NO substitutes!

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Yes, to borrow the mantra at the end of your posts, I should accept NO substitutes. :)

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Indeed. ACCEPT NO SUBSTITUTES! :)

I really wish I could have stopped you before you parted with your $43 bucks and made this purchase. I can't imagine too many people out there still buying bootleg DVDs. It just isn't done.  It used to be more prevalent when DVDs first came out in the early to mid 2000s - before studios began releasing TV shows on DVD, first season by season and then eventually the complete series. With all these shows now on DVD nobody even wants to look at bootleg rip-offs. Most would rather pay more than be stuck with crap. I spent $80 for the whole MAGNUM PI box set (all 8 seasons) and I consider that a very good deal - that's $10 per season! Most of all, I know that I have the REAL deal, the official releases.

Anyway I hope you enjoy your "official" seasons 7 & 8. $8 for both of them is a steal!

Connery, Moore, and Brosnan! Accept NO substitutes!

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I hope you enjoy your "official" seasons 7 & 8.

Thank you ringfire. I'm looking forward to seeing them.

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My season 7 & 8 DVDs (the new ones from Amazon) arrived so I will start looking at these episodes over the weekend.

I'm excited about it!

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I watched the first four episodes that were on disc 1 of the season 7 set I received from Amazon. It was like night and day, the video and audio quality between these and the inferior bootleg copies.

*****
'New Cop in Town'
Joan McMurtrey's first episode as Abigail Marsh

Joan McMurtrey takes over as the newly promoted lieutenant in the wake of Town's exit. I wasn't prepared to like or dislike her. I just figured she would be a stock authority figure at the precinct. She's a very capable actress. It's interesting to see how women are portrayed in this genre, which tends to objectify females and focus on violence and action involving men. The Abby Marsh character is nicely set up in this episode and in some ways, she resembles Sharon Gless' character from Cagney & Lacey. She's feminine but not too feminine, she's tough as nails, and she's not afraid to use her power-- but she does play fair. My gut feeling is that they will soften her over the course of the next two seasons. What I do like right out of the gate about her is that she's not as immature as Town was sometimes. I think she comes into the show and sees the Simons, including their mother, for what they are-- and her judgments seem sound. So, as I finished the first episode, I was rather impressed with the introduction of this new main character.

The story itself is not bad either. The boys have been doing some sort of surveillance and have apparently broken the law, by invading a dead man's privacy. Stanley Brock appears as a lovable shyster lawyer who helps them get out of trouble on this issue. The boys play a game of cat-and-mouse with Marsh about a tape they recorded of the deceased before he was murdered. This all ties into a stolen car ring, and most of that is fairly routine.

I knew Dick O'Neill's character would be the villain the minute he showed up at the police station. The character had never been seen or even mentioned before. Suddenly, he's there working and chummy with Marsh. The Simons seem to know who he is. There is a backstory that he must have but we've never been exposed to any of it before. So I just knew he was there to be some sort of cop on the take that would be disposed of by the end of the episode. And that's exactly what happened.

Despite the predictability of the plot, I gave this episode a 10, because I thought the writers handled Marsh's introduction correctly. We got to see the vulnerable side of the Simons as relates to the law. And Dick O'Neill's running off and being captured at the end was very well played. He's a great character actor who made it look easy. I also liked Cecilia's immediate bonding with Abby. This was a good way to start the seventh season.

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'Desperately Seeking Dacody'
Suzanne Sugarbaker comes to San Diego

I had been eager to see this episode, since as we all know, Gerald McRaney married Delta Burke in real life. I am not sure when this episode came in the timeline of their relationship, but Delta had already been delighting audiences as Suzanne Sugarbaker on CBS' hit southern sitcom Designing Women for a year before she turned up on this show. In many ways, Delta has a very limited range as an actress, and this story sort of proves it. She's basically playing another Suzanne type character, charming the pants off Rick and pulling a few fast numbers on him and his brother. Even after she seems to experience a change of heart midway through the story, she still manages to stiff them with the bill at the end. I guess we needed to know that while Mac wound up with Delta behind the scenes, Rick did not get to keep her on camera.

And yet, despite Delta's limited ability to play a wide range of characters, she does manage very well here with the highly specialized, high-maintenance woman she plays. She's a reporter Rick knew in 'Nam, and her stupid selfish act fifteen years earlier caused a lot of suffering for the men Rick served with. In a pivotal scene, he lashes out at her and tells her what kind of pain she caused. It's not a typical screaming match-- yes, the veins on Rick's neck and forehead are popping out-- but he is setting her straight because he cares enough to see her change, and this comes across vividly. Delta's reactions are perfect, including the apology scene that follows afterward, and this is perhaps some of the best acting she's ever done on television.

The title for the episode is an allusion to a movie called Desperately Seeking Susan, which couldn't be more different from this particular crime story. The plot involves a fugitive from "justice" (and we put that word in quotes because this is another episode about corrupt small-town justice) whom Delta's character believes has been set up. The Simons help her basically help him, and it all seems to be moving along as one expects, until the last part. The scene where the Simons stop guest star Pat Corley from extraditing Dacody sacrifices all credibility the episode might have had up to that moment. There is no way a relatively new lieutenant like Abby Marsh, who has already been established as a no-nonsense by-the-book copper, would let two private detectives use a squad car and pose as police to nab Corley. It was just too unreal for words. Kind of like Suzanne, I mean Delta, going back to Sugarbaker's in Atlanta without paying the bill.

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Perhaps "relieved" is too strong a word, but I am happy that you enjoyed Abby's debut episode. She'll never be Town, yet she manages to add a different dynamic to the series and works as a foil for the Simon brothers. I liked her a lot more than I ever thought I would. It also helps that she gets a couple of personal stories for herself.

As for Delta's episode, her appearance reminds me of what I refer to as the "Designing Womanification" of CBS, which is mostly me associating aspects of seasons five through eight with the then-popular sitcom. It also seems as though S&S looked "cheaper" during those last two seasons, but the nonpareil Parker-McRaney chemistry managed to rise above it despite the budgetary obstacles thrown its way. It irks me no end that S&S were "kicked to the curb" in that its series finale was not aired during its original broadcast run.

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Perhaps "relieved" is too strong a word, but I am happy that you enjoyed Abby's debut episode. She'll never be Town, yet she manages to add a different dynamic to the series and works as a foil for the Simon brothers. I liked her a lot more than I ever thought I would. It also helps that she gets a couple of personal stories for herself.

Yes, I really enjoyed watching her. She "fit in" better than I expected. I think it was a smart idea for them to go with a character that was not very much like Town. Similar to when Winchester replaced Frank Burns on M*A*S*H. They serve the same purpose in a long-running series, but they're different.

As for Delta's episode, her appearance reminds me of what I refer to as the "Designing Womanification" of CBS, which is mostly me associating aspects of seasons five through eight with the then-popular sitcom.

DW became the apple of CBS' eye. This occasionally happens on network television. A show becomes a breakout hit and suddenly it influences the rest of the television landscape. We saw this with other programs in the 80s, like Miami Vice and Roseanne.

It also seems as though S&S looked "cheaper" during those last two seasons, but the nonpareil Parker-McRaney chemistry managed to rise above it despite the budgetary obstacles thrown its way.

I haven't noticed the cheapness yet but maybe I will as I continue watching S7 and get into S8. I did notice that the set for A.J.'s home looks a little different. They are using Cecilia's home more often which I don't remember seeing too much back in S4.

The chemistry with all of them is exceptional. I think they're more relaxed in these later episodes. They know the characters they're playing forwards and backwards by this point in the game, and they're just kicking back and having fun.

One thing I have to add is that I think the change in writers helped this show. I was kind of wondering if the scripts would decline in quality but I think they're actually better. The stories seem a lot more focused. In the four episodes I've watched (I will post two more reviews later today), there are less silly red herrings, and less unrelated subplots used for filler. The storytelling seems a lot more logical. I thought I would miss the shtick but so far I haven't. I think it's because I know the characters and their idiosyncrasies and don't need them to ham things up.

It irks me no end that S&S were "kicked to the curb" in that its series finale was not aired during its original broadcast run.

Yes. I looked at the broadcast data, and I was surprised the finale had to be seen originally in reruns. The same thing happened with Good Times. Nobody knew the Evans family had moved out of the ghetto until they saw the last episode in syndication.

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As for Delta's episode, her appearance reminds me of what I refer to as the "Designing Womanification" of CBS, which is mostly me associating aspects of seasons five through eight with the then-popular sitcom

I'm not quite sure I understand this statement. I've only seen bits and pieces of DW but from what I recall it was about these 4 feisty Southern belle types. So what does S&S seasons 5-8 have to do with this? Did it feature stronger female characters?

Connery, Moore, and Brosnan! Accept NO substitutes!

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Two more:

'You, Too, Can Be a Detective'
Richard Simon, author of a new detective novel

While this is a fairly entertaining episode, I think there are some missed opportunities. First, I don't buy Rick just whipping out a 300 page book at the snap of a finger. This is where an on-going arc might have helped, if it had been established in an earlier season that he was plugging away on a book and nobody thought he'd ever finish it-- then voila, this episode shows he did. But for him to have a book completed and selling it just out of the blue was kind of unbelievable. Plus they missed out on A.J. poking fun at Rick's grammar. Instead, A.J. seems more obsessed with the fact that Rick (or should I say Richard, as he is known on the cover) is taking credit for cases they both solved. Incidentally, wouldn't Rick need to get permission from past clients to use their stories in such a publication? Also, I think the idea loses something without Cecilia being present-- they could have had a bit of fun with her reading pages in Rick's book and now realizing some of the boys' cases had put them in so much danger, at least according to how Rick perceived them and wrote about them.

All that aside, the book is really just an excuse to introduce a guest character named Molly. She's a literary groupie who has quit her job as an airline attendant, after she read Rick's book and decided to become a detective too. She's loopy, played a bit over the top by the actress cast in the role, but her offbeat charms manage to attach themselves on to an unsuspecting viewer. So much so that by the end of the episode, you almost wish they'd give her and the character its own spin off series. Or at the very least, she could have been invited back to help the guys solve another case.

I won't go over the plot too much, because there are no real surprises with it. We know that Molly's gotten tangled up with some sort of crime ring at the airport and the bad guy will be caught before the closing credits. I did like the climactic scene in the baggage area, when Marsh and the Simons helped nab the villain. This show always does a nice job staging the chase and capture scenes.

*****

'Shadows'
Shadows of an angel

At the present time, this episode has a fairly strong rating on the IMDb so it's probably safe to say it's a fan favorite. It reminds me a lot of Miami Vice, the way we see a boat docked at the harbor, tall skyscrapers in the background, and a gritty but flashy crime scene involving drugs and rich men who exploit young prostitutes. Olivia d'Abo, right before she started on The Wonder Years, is cast in what might be considered a dual role as a street urchin named Alison/Angel. She is called Angel because of a tattoo printed on her arm, and we're supposed to be believe she's a good girl who had to go bad to survive.

Some of her bad deeds include stealing wallets, which is how A.J. first meets her when she robs him during a baseball game. And she also steals other things, like when she later sneaks off with one of Rick's expensive cameras. She has her reasons for doing these things, and as the story unfolds, the brothers learn about her troubled past and how she was once abandoned by her father. It's all meant to tug at viewers' heartstrings, and it works-- probably because d'Abo looks younger than her actual age (18), so this seems even more shocking. In fact, she does such a good job conveying the pathos of the girl she portrays that you can't help but get caught up in it. I thought she had a very powerful scene where the camera followed her into a public bathroom and she pounded her fists on the counter. She looked right into the mirror and vowed to kill the sugar daddy who gave her best friend a fatal dose of some narcotic-- it was rather intense and scary. In hindsight, it's almost surprising d'Abo did not go on to become an Oscar-winning movie actress; in this episode, she certainly demonstrated the talent to head in that direction.

By the way, there is a fourth season episode which tackles some of what this episode covers-- about runaway teen girls stuck in a world of drugs and trying to climb out of the pit they've fallen into. But compared to this offering, the earlier version seems very pedestrian. This particular script is not afraid to really sink its teeth into the subject matter, to show us very shocking things that the girl and her friends go through. But it does give us what is almost a too-tidy ending. While I appreciated her finding happiness, I think it would have been even stronger if she had died and we had seen how a life can be totally wasted because of the neglect and abuse she had unfortunately encountered.

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Some more:

'Forever Hold Your Piece'
Three heads are better than two?

When a show runs as long as this one has, I suppose it becomes a challenge to present new scenarios that will keep things fresh. In the case of this episode, the writers have managed to come up with a different and highly entertaining situation. They've sent A.J. off on a fake vacation to the Bahamas (he's really just spending ten glorious days at home enjoying some peace and quiet); while Rick holds down the fort at the office. Soon Rick gets involved in the messy divorce case of a friend (Michael Constantine)-- a decent but down-on-his-luck bloke who's about to lose everything he holds near and dear, including a rather expensive boat.

While Rick tries to help, the plot thickens and some thugs show up, which leads to a murder. But what makes the story fairly unique and generates plenty of laughs is how Rick must team up with two other detectives hired by the friend's estranged wife. They are forced to work together to solve the murder and get the divorce back on track. Of course, we know the divorce probably won't take place and the couple will in all likelihood reconcile, but until then, there's a reason the other two P.I.'s must cooperate with Rick while A.J. remains unavailable.

It's fun to see Rick interact with the other two, particularly when they seem to be so ethically challenged. One of them is portrayed by Universal contract player John Schuck. He appeared in an earlier episode during the sixth season as the same character. When Schuck and his female partner go undercover with Rick to trap the killer, we're treated to some very over-the-top scenes with the three of them in a ritzy hotel suite-- which climaxes when the culprit shows up and learns their real identities. McRaney seems to be having a lot of fun with the story which deftly combines action with satire. His flair for comedy undoubtedly helped pave the way for his later sitcom Major Dad. This episode is a major blast.

*****
'Tale of the Tiger'
Rick and the Vietnamese community

I didn't think this was the best episode by any means, but it was well-structured and had an interesting message about post-war life. We get a chance to see Rick deal with another aspect of his time in 'Nam, when he is reunited with an old pal named Chen. Some startling truths about Chen and the man he has become begin to surface, and it drives a temporary wedge between the Simons when A.J. tries to enlighten Rick about Chen's modern-day dealings and current reputation.

I really liked the way the episode gave us a group of Vietnamese American characters to represent a culture seldom seen on network television at the time this story was produced. And it's to the writers' credit that these people were not stereotyped. Shades of good and evil within the community were depicted as they struggled to realize the American dream.

I did think guest star James Shigeta over-acted in a few scenes, which at times made me want to tune him out. Perhaps a Vietnamese man who had been a hero but was now drastically changed by circumstances meant it was necessary to present him in a highly dramatic fashion. But I still feel his performance could have been reigned in a bit more, so it didn't contrast so much next to McRaney's. I didn't want to keep thinking this was a showy guest actor hamming it up. Instead, I wanted to think this was really someone Rick connected to many years ago and whom he still related to as a brother on some level.

The final moments, involving a shoot-out with a more villainous individual who was determined to take over Chen's territory, were unusually graphic. In fact, a scene where the baddie gets shot by Rick while standing behind a shed door, then collapses and falls into the frame, seemed excessively bloody. I guess we were supposed to understand that Rick and his military buddies had witnessed many deaths in the jungle that were equally horrific.

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How come you didn't review Second Swell? Did you skip watching that episode?

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How come you didn't review Second Swell? Did you skip watching that episode?

I watched it but haven't written the review yet. I plan to post it later today followed by my review for 'Nuevo Salvador.'

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Here:

'Second Swell'
A.J. confesses past mistakes

In the previous episode Olivia d'Abo guest-starred. This time we have Jason Hervey, who played her obnoxious brother on The Wonder Years, in a small part. He's not so obnoxious here-- in fact, he helps provide Rick with a valuable lead when A.J. has disappeared after a beating and brief hospitalization. Since Gerald McRaney is also directing this episode, I would imagine he had a hand in selecting Hervey, and their scene together is nicely done.

The main plot, which focuses on Rick's attempts to track A.J. down and rescue him, gives us substantially more backstory about the Simons than episodes normally do. We quickly learn that A.J. has been beaten to a pulp along a pier because a killer is out of jail and he is determined to make the youngest Simon brother and an ex-girlfriend pay for his lengthy incarceration. Most of this is explained in a very good scene between Rick and Cecilia when she tells Rick about a never-discussed incident that occurred when Rick was in 'Nam.

Meanwhile, A.J.'s ex has married an older, very wealthy industrialist and of course, she doesn't want her spouse to know about her sketchy past. The husband goes off on a business trip which allows A.J. to play hero and protect her (and revisit old feelings) as they wait for the killer to close in. Rick is not far behind, but they do not know it.

While the basic scenario makes sense, I feel there are some implausibilities with the script. First, it is much too easy for A.J. to sneak on to the grounds. We are told the husband has fortified his property with two state-of-the-art electronic security systems. Even if A.J. could obfuscate the security system, how would a man who's been in jail for 15 years know how to get around the modern technology and also gain access to the main house? This part is definitely far-fetched, and so is the fact the childless couple would not at least have dogs around that would start barking when unwanted guests turned up. Not to mention the fact we have already seen horses in a stable which would undoubtedly be spooked by the killer's arrival and make requisite noises, letting A.J. and the woman know they had company.

I did like the surprise twist that A.J. had lied to put the man away-- it is revealed the woman had actually seen the murder and A.J. went to the police on her behalf. Of course, there's an easy "out" since A.J. never formally testified due to a plea bargaining and thus did not ever perjure himself. The twist is sort of overshadowed by a lengthy confrontation inside the house during a stand-off between the killer and the Simons. I sincerely doubt a cold-blooded murderer would care about A.J. confessing his lie to Rick. The guy would hurry up, get his much-desired revenge and get out of there before the cops showed up. This confession is followed by another lengthy scene with the Simons at the beach, where Rick basically tells A.J. to let it all go and get on with the rest of his life. I thought the cinematographer's use of amber lighting in the beach scene was a nice touch, like McRaney was trying to prove he could be an artistic director with a lingering and memorable final shot.

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My next review:

'Nuevo Salvador'
Escuadrón de la Muerte

Though this episode was produced in early 1988, the death squad killings that had occurred in El Salvador in the early 80s had hardly been forgotten. In fact, killings were still going on and even continue into the present day by a group known as Sombra Negra (Black Shadow). The script was written by Richard Okie and was the seventh of ten episodes he penned for the series and its tone is very somber, especially the ending.

While I applaud Okie and the show's producers for tackling this particular topic, I think it fails in a few key areas. First, the main guest character, Elena Montero (Gina Gallego), is presented as the most noble sufferer who ever graced American TV screens. Everything bad that could happen to one woman happens to her in this story. She gets more than one scene where she launches into a soliloquy for Rick & A.J.'s benefit (and the benefit of the viewing audience) about what she has lost because of the guerrilla warfare back in her home country. She tells us why another woman wearing her jacket was attacked and raped because the perpetrators thought it was actually her; and she tells us how she has lost more than one brother who've been killed by the death squads. It was a bit much. I was half expecting her to end up telling us her dog had hit by a car and she had recently been diagnosed with cancer.

I am not saying this to sound mean or downplay the real-life suffering of victims and their families in El Salvador and other Latin American countries, but I think this would have played better if her tragedies had been spread out on to several other guest characters who were in the same situation. My feeling is that Okie, when researching the issue, had taken stories from multiple victims and combined them into this one character's suffering. And again, it was somewhat extreme.

The other issue I have with this well-meaning episode is that it doesn't go far enough visually. Having her describe the torture that occurs was not as good as showing some of it. Obviously, a network TV series in the late 80s probably couldn't show someone getting their tongue cut out or a gang rape occurring, but I do think scenes of this nature could have been attempted in shadows, where it's happening but we do not exactly see it all. And they could have had a viewer discretion warning at the beginning. If a story of this type is covered, then it almost has to be graphic to indicate the very realness of the violence affecting these people.

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It is a bit improbable, though it's an episode that I very much enjoyed. AJ's beating at the end goes rather too far, I think. How the hell he's even conscious, let alone mobile, beggars belief! TV does love to make light of head injuries though.

Amuses me that nobody realises the bad guy is Rick's great buddy from back in the season one episode "Love, Christy". ;)



~~~~~~~~~~~~~~~
I find concussion quite invigorating.

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AJ's beating at the end goes rather too far, I think. How the hell he's even conscious, let alone mobile, beggars belief! TV does love to make light of head injuries though.

I'm glad you mentioned A.J.' s beating. He had also been beat up pretty bad in 'Second Swell' just a few weeks earlier. Not only does he never have a concussion, but he never gets a scar from any of these scrapes.

Amuses me that nobody realises the bad guy is Rick's great buddy from back in the season one episode "Love, Christy".

Yes, Henry Darrow could play it all.

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Memorable episodes:

'Bad Betty'
Betty the bounty hunter

This episode feels like it could have been a backdoor pilot. The guest character, a bounty hunter named Betty Delvecchio (Susan Kellermann), is so well-defined she easily could have carried her own series and it's a shame she didn't. And if not a weekly series, this story might even have been slightly expanded and remade as a feature film. The relationships she has on the road, especially with the Simons, as she tries to track down a wanted man are nicely handled; we get a sense she's a multidimensional person doing a tough job. And she may or may not have a tragic situation to deal with back home in Michigan.

In addition to Betty, Art Monterastelli's script provides other assorted characters that make this a lively offering. These include Alvie the Weasel (David L. Lander) the thief Betty is trying to nab who always seems to get away, as well as a crooked pawn shop owner named Harry the fence. Plus there's another dude who represents an insurance company and has hired the Simons, though he may not be all he seems. The chase and capture scene near the end is classic. It involves Betty & A.J. with the bad guys, as well as Rick & Lt. Marsh who arrive in the nick of time to help save the day. And as if that's not enough, we get a very fun concluding sequence where Betty is trying to extradite Alvie back east in a coffin, though he is supposed to stay in San Diego for more police questioning.

I think what I love so much about this episode is the way it keeps the story moving but it also knows how to pause at key points to reveal insights about the characters. We learn about Betty and her background when she stops by to talk to Cecilia; and additional insights occur later when she has a heart-to-heart with A.J. at the office. We also get to learn about Alvie and Harry, seeing what makes them tick. And the icing on the cake is how Rick perceives all of it. He does a voice-over narration during the episode which resembles a 40s noir-- a lot of what he says about Betty is quite comical. A prior episode focused on Rick publishing a book about his life as a detective. One can't help but think this story is a chapter in his next publication.

*****

'Something Special'
Pig's blood

I wasn't expecting much from this one, since the story seemed fairly routine. Also, the preview clips at the top of the episode gave me the impression it would be something about a typical 80s damsel in distress, and we've seen that a million times already on this show. But I do have to say I was pleasantly surprised by Shelley Smith's performance as the main guest character. She was beautiful, and just as importantly, she had brains.

She plays the daughter of a recently deceased construction company owner who along with her father's old partner is now running the business. She comes in contact with a man named Linson (Jack Lucarelli) who is trying to extort her for protection money. It is heavily implied he has connections with organized crime. When Smith goes to the Simons for help, she doesn't downplay the danger but she doesn't exactly tell them everything they need to know about the extortion racket. As viewers, we already know what's in store for Rick and A.J., since there's a scene early on where Lucarelli throws what is said to be pig's blood all over Smith to ensure her cooperation. It's very memorable, and when she eventually lets the boys see the blood stains on the carpet and describes the kinds of people she is dealing with, the visuals definitely underscore the danger.

While collaborating with Lt. Marsh, the Simons try to draw Linson into the open, especially after he kills the old partner of Smith's father. In the meantime, there's a romantic subplot. The attractive gal has become involved in a slight triangle with the two brothers-- though I must say there is a lot of hugging, and relatively no kissing. It's a rather tame threesome. And neither Rick nor A.J. ever get to first base with her due to a series of interruptions caused by the case. Plus, after Linson is brought down, we learn the fair damsel will be entering a witness protection program, since it's clear the mob will now be gunning for her. I guess it was fun while it lasted, right guys?

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Two more:

'Baja, Humbug'
Rick & A.J. and the arms dealer

A lot happens in this well-written and well-played episode of the series. Guest star Tony George, in his last television role, plays a man who is basically a death merchant, dealing in the sale of arms to third-world countries. Some of these countries have the support of the American government and intelligence agents are monitoring the exchange of weapons. One agent (Ken Swofford) seems to have switched sides. But of course, Rick and A.J. have no clue any of this is going on when they first go down to Mexico and inadvertently get mixed up in it.

The set-up for the main plot is fairly realistic. The boys are sort of experiencing a mid-life crisis and they decide to chuck the detective agency work and head down to Baja when Rick inherits a boat from a late fishing buddy. Rick's dream is to run a sightseeing tour on the boat, while A.J. will help but mostly focus on efforts to become a bestselling novelist. This is the second time in the seventh season that one of the brothers has writing aspirations. Earlier in the season, Rick had his own book published chronicling his exploits as an investigator. None of which is referenced in this story.

There is a subplot involving a woman A.J. gets to know on the side. She turns out to be an undercover agent for the S.I.A., which stands for the Security Intelligence Agency (a make-believe version of the C.I.A.). She plants drugs in his suitcase so she can use him and Rick to aid in an operation to take down George and Swofford. A.J. feels betrayed, and he is able to one-up her in the end with Rick's help.

I gave this episode a 9, because I thought Tony George was great in his role. He had previously played Jameson Parker's father on the daytime soap 'One Life to Live' in the late 1970s, so this was an on-screen reunion for them. Also, I liked the whole ambiance of the story, though it was obviously filmed on the Universal backlot. Except for the opening scenes, the majority of the story takes place outside San Diego. Cecilia and Abby Marsh do not appear and are never mentioned, which seems significant-- because if the boys did leave San Diego for good, they would have obviously had a farewell with their friends at the San Diego P.D., and Cecilia would have undoubtedly tried to talk them out of their decision to relocate to Mexico. But then, we knew it wouldn't last and they'd be back home in time for the next episode.

*****

'A Firm Grasp of Reality'
A firm grasp on the edge of the bridge

This episode seems like a combination of two earlier episodes-- the one in the fourth season where Brian Kerwin was a man with multiple personalities; and a second season episode where the Simons transport an unstable mental patient to a hospital. This time we have a female scientist whose research has led to an important discovery, but her progress is hindered when she is stalked by someone out to claim her findings. The stalking triggers a mental relapse; so while suffering from DID (Dissociative Identity Disorder), she is checked into a psychiatric hospital. Her boss, played by Linden Chiles, then hires the Simons to keep tabs on her. This of course means A.J. will go undercover as an athletic instructor at the facility, while Rick will pose as a fellow patient. We even have scenes of Cecilia checking Rick in for his stay at the funny farm.

I did not have a problem with the basic set-up. But I think the plot relies on too many stereotypes about the mentally ill. In group therapy scenes, we see a woman talk about making soup and thinking it was blood and guts; we have another guy who believes he's sort of a comic book hero; we have Rick going ballistic and attacking someone to prove how nuts he can be; and then we have the main guest character (Fionnula Flanagan) switching in and out of her three separate personalities. One of them is her true self; one is a sexual deviant; and one is an innocent girl. It was a bit overdone, and despite Flanagan's skilled acting, it still seemed a bit ridiculous in spots.

While the Simons do get to the bottom of who is stalking the lady scientist, they also manage to help cure her of the psychosis that ails her. There is a very dramatic finale on a bridge where one of the woman's personalities wants to commit suicide. To prevent such a tragedy, the Simons have to convince the deviant personality to protect the innocent personality. It seemed very contrived, but I do have to admit the stunt work on the bridge was nail-biting. Obviously a stunt woman was used for the long shots when it looked like she'd go over the edge; but it was seamlessly matched with the shots of Flanagan literally hanging on the other side of the rail. The boys eventually pull her to safety, and in the process, they have successfully helped bridge her transition to a saner and healthier mindset.

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Additional reviews:

'Little Boy Dead'
Abby kills a young boy

There's very little humor in this episode, and nearly all the drama centers on Lieutenant Abigail Marsh after she shoots a young 12 year old in a run-down part of town. The Simon brothers and Cecilia support Abby through the grueling ordeal that follows, with Rick and A.J. helping to clear Abby's name. But for a while, things don't look too good.

The trouble has occurred because Abby chased a suspect into an apartment building after a nearby liquor store had been robbed. As she turned a corner and looked upstairs, the suspect's gun was being aimed directly at her. Abby ended up shooting and killing the person holding the gun, who was not the suspect, but instead was the young boy. Of course, the suspect had given the gun to the kid, but it becomes a matter of proving it.

Proving it is harder than they realize, when most of the people in the apartment building refuse to step forward. Abby goes through a lot of turmoil; she is placed on suspension and ordered by the department to undergo counseling. She just wants to leave San Diego and be with her family in Colorado; during this process, she realizes the Simons are her family, too. A break in the case finally occurs when an older woman named Bessie Copland (Maidie Norman in her last screen appearance) calls A.J. with the intention of ratting on the killer. But the killer is there and offs her before his identity can be revealed.

It's up to another woman, the mother of the boy, to right the wrongs. The mother is played by Joan Pringle who does an extraordinary job with a tough role. She is supposed to be grieving the loss of her son but conflicted about loyalties in the ghetto. The final scene where she takes the law into her own hands is not entirely unexpected but it's powerful, and the episode ends on a very serious note because of it.

I am giving this one a 10, though I am not sure how accurate it may be in terms of what would actually happen to a lieutenant who accidentally kills an innocent child. I am sure there'd be a lot of bureaucratic red tape, where a thorough investigation would be conducted by the Internal Affairs division. While we see Abby's boss, we do not really get much information about how the situation is being handled internally. There are other cops at the scene when Bessie is eliminated, but we do not really observe any of them doing much to close in on the killer. Apprehending the bad guy is left up to the Simons who cuff him and lead him off at the end. In a way, Rick and A.J. are Abby's faithful deputies.

*****

'Ties That Bind'
What's a brother for?

This is an exceptional episode, and a lot can be read into the relationship that a veteran cop has with his troubled kid brother. Character actor Richard Herd returns as Police Officer Harry Flank, a role he portrayed previously in a sixth season episode. One night while bowling with the Simon brothers, he has to help his bro out of a jam. It involves money the younger brother, Phil, owes a cocaine dealer. In order to erase the debt, Harry takes an advance on his pension and floats Phil a loan. Except Phil has other ideas about how to use the money, which leads to a fatal shoot-out in a dark alley when another drug deal goes bad.

It's a compelling plot and nicely structured, but the heart of the story is the relationship between the two brothers. In a way it is juxtaposed with the relationship that Rick and A.J. have. At one point, Harry tells Rick that Rick would be bailing A.J. out of trouble, too, because it's what the older sibling usually does. Of course, Rick can see that Harry has blinders on and is unable to admit the extent of Phil's nefarious crimes and other seedy activities. As viewers, we know this may end badly and we're hooked to find out just what will happen.

The last act, where Harry gets shot because he is once again rushing to Phil's aid is very dramatic. He realizes he has to arrest Phil, but as the Simons arrive at the scene, the big bad coke dealer is there to avenge being double-crossed. He aims and fires at Phil, but instead hits Harry. In the next part, Phil hops into a truck and gets ready to leave while Harry is on the ground dying. I wondered if the writer would have Phil just take off, but I'm happy to report he does come to his senses. The conflict in that moment is very real. When Phil finally does the right thing, it shows the audience family ties are stronger than any problem that might threaten to disrupt everything.

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Dramatic episodes to finish out the seventh season:

'Sudden Storm'
Cecilia gets raped

This episode gives viewers a lot to ponder-- and I believe this is what good television does. It uses a very tragic situation and offers insights into the show's main characters. And as the final shot indicates, this is a close family unit and any pain that one of them experiences, they all experience together. They suffer together, and ultimately they heal together.

The plot focuses on catching an unknown assailant who has entered Cecilia's home one stormy night. After turning the lights off, he enters through a kitchen window, uses a pillow to cover Cecilia's face, then assaults her. The rape scene is brief and is intercut with the Simon boys on separate dates. Abby Marsh is having dinner with A.J., who gets a call from his mother and quickly learns she's in distress. The scenes that follow, where A.J. and Rick comprehend what has happened, and they see Cecilia in her hospital room after she's been examined, are simple but intense. All four of the leads do a stellar job portraying the aftermath.

But the episode is more than just a story about a violent physical act. It's also a mystery, because they have to find out who the culprit actually was. I thought it was excellent the way David Moessinger, the scriptwriter and director, set Rick and A.J. both up on a path of vengeance. Parallels are drawn between their actions and lynchings. At one point, Abby tells them about an officer whose daughter was raped-- a man who killed a suspect shortly before the actual attacker stepped forward to confess.

So we have a mystery about the rapist's identity going on, but we also have Cecilia's two sons attempting to find "evidence" against two separate men they think might have been responsible for terrorizing her-- a handyman with a history of mental illness (A.J. suspect of choice); and a chiropractor who's a frequent date of Cecilia's (Rick's suspect of choice). What's interesting is they are both wrong; and we're told it's a third person they know-- someone they never would ever have suspected.

I should mention there's kind of a Freudian angle in Moessinger's story. He does include a scene where Cecilia is at the hospital and tells Abby what it was like being married to Jack Simon. She describes how she sees her late husband in both her sons; and also how she brought the rape on herself. It's excused as something she's saying because her mind might be playing tricks or repressing things. But since the real rapist turns out to be someone much younger than her, someone who felt protected by her, we get a sense that there is a sickness in the perpetrator that is being applied directly to this particular family. This said, I don't think it's a point to get too hung up on; the text can have multiple interpretations. But the most significant one has to be the way this tight family unit heals and moves forward.

*****

'May the Road Rise Up'
Is Jack Simon still alive?

This is a touching episode that easily could have served as the series finale. Perhaps when it was made, they had not been renewed for another season and thought this was the end. I think what I love so much about the story, aside from the heartfelt performances rendered by the main cast, is the way these characters represent real American people who have dealt with real American tragedies. It has even more gravitas when we look at the issues our country has had with national security in the years that have followed. The heroism of a Jack Simon, and I am sure there were many men like him who valiantly and quietly protected the nation, is even more powerful when it is reflected in the hearts and minds of a wife and the two sons he left behind.

Richard Okie's script saves the best part for last, where it is revealed how the Simon patriarch met with a tragic death and lived out his final days. But the first half plays like a mystery, where Rick & A.J. are convinced their father might still be alive. They deal with government cover-ups in their quest to find answers. At one point, Abby Marsh helps them get their dad's grave exhumed. Cecilia shows up, not too happy this is happening, and when the casket is opened, the result is most startling.

The actor who plays Jack Simon's boss is Joseph Sirola, and he brings a measure of dignity to the proceedings. Eventually he takes mother and sons to the real grave, and when they go into the place where Jack's final moments occurred, we get some very honest and very real emotions. As I watched the last scenes, I couldn't help but feel the writer cared-- he made it a point to give these three closure and to give viewers a better more fleshed out picture of who the Simons are and where the road has brought them.

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I am probably not going to start watching the season 8 episodes until later this weekend. But first I wanted to share my scores for the season 7 offerings:

1. NEW COP IN TOWN...10...Joan McMurtrey debuts and "fits" right in

2. DESPERATELY SEEKING DACODY...9...McRaney-Burke chemistry makes up for unbelievable capture scene

3. YOU, TOO, CAN BE A DETECTIVE...8...light escapist entertainment, with offbeat guest actress

4. SHADOWS...9...a do-over of S4's 'Slither;' enhanced by Olivia d'Abo's exemplary performance

5. SECOND SWELL...9...McRaney's artistic touches can't overcome drawn-out climax.

6. FOREVER HOLD YOUR PIECE...10...delightful change of pace; the season's funniest episode

7. TALE OF THE TIGER...8...James Shigeta's overacting gets in the way of an interesting Vietnamese drama

8. NUEVO SALVARDOR...8...unintentionally funny, given the excessive suffering of guest character; somber ending saves it.

9. BAD BETTY...10...perfect blend of hijinks and detective work; bolstered by strong guest character

10. BAJA, HUMBUG...9...different setting provides nice ambience, strengthened by Tony George's performance

11. A FIRM GRASP OF REALITY...8...mostly ridiculous nonsense about a woman with DID. DID she entertain you?

12. TIES THAT BIND...10..top-notch guest performances complement good script with riveting conclusion

13. LITTLE BOY DEAD...10...Joan McMurtrey shines in episode that focuses on a tragic shooting

14. SUDDEN STORM...10...Mary Carver should have had an Emmy nomination; a harrowing episode

15. SOMETHING SPECIAL...9...memorable visuals make a routine plot better than it has a right to be

16. MAY THE ROAD RISE UP...10...good use of Simon backstory; final sequence is emotionally satisfying for show's longtime fans.

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