CSI
Long Gone
April 19, 2010
by David Krell
david@davidkrell.com
Long Gone is a 1987 tv-movie that first appeared on HBO.
Based on a novel by Richard Hemphill, it’s a tale about baseball, corruption, and sex centered on a minor league baseball team in Florida in the late 1950’s.
At the heart of the Tampico Stogies baseball team is Cecil “Stud” Cantrell, a long-time minor-league pitcher, manager, and slugger who almost made the big leagues with the St. Louis Cardinals.
He competed with Stan Musial. Cantrell says that he hit the ball harder but Stan the Man had a prettier swing. It was at the dawn of World War II. Cantrell served his country, but war injuries prevented him from going farther than minor league ball.
William Petersen of CSI fame plays Cantrell.
His protégé is Jamie Don Weeks, played by Dermot Mulroney. At first a naive player who simply wants to play baseball, Jamie transforms into a grown man and emulates Stud’s mannerisms.
He also gets his girlfriend pregnant -- Esther Wrenn, played by Katy Boyer.
Cantrell’s girlfriend is the young but world-wise Dixie Lee Boxx, played by Virginia Madsen.
Henry Gibson plays Hale Buchman, owner of the Stogies. Teller of Penn and Teller plays his son in a rare talking performance.
Larry Riley plays Joe Louis Brown, a catcher with tremendous power. In one scene, the KKK stops the Stogies’ team bus in the middle of the night. The Stogies chase off the Klan with baseball bats and Brown knocks a burning cross to the ground with a powerful swing.
The Stogies’ chief rival is the Dothan Cardinals. J. Harrell Smythe, the Cardinals’ owner, makes Cantrell and Riley an offer. Throw a decisive game against the Cardinals. Brown gets a brand new car. Cantrell gets a contract with the Dothan Cardinals. An enticing offer for Cantrell considering he never gave up his dream of working in the Cardinals’ organization after losing a spot to Musial.
To see how the story ends, check out Long Gone if you can find it.
Long Gone may be long gone, but not forgotten.
david@davidkrell.com
Long Gone is a 1987 tv-movie that first appeared on HBO.
Based on a novel by Richard Hemphill, it’s a tale about baseball, corruption, and sex centered on a minor league baseball team in Florida in the late 1950’s.
At the heart of the Tampico Stogies baseball team is Cecil “Stud” Cantrell, a long-time minor-league pitcher, manager, and slugger who almost made the big leagues with the St. Louis Cardinals.
He competed with Stan Musial. Cantrell says that he hit the ball harder but Stan the Man had a prettier swing. It was at the dawn of World War II. Cantrell served his country, but war injuries prevented him from going farther than minor league ball.
William Petersen of CSI fame plays Cantrell.
His protégé is Jamie Don Weeks, played by Dermot Mulroney. At first a naive player who simply wants to play baseball, Jamie transforms into a grown man and emulates Stud’s mannerisms.
He also gets his girlfriend pregnant -- Esther Wrenn, played by Katy Boyer.
Cantrell’s girlfriend is the young but world-wise Dixie Lee Boxx, played by Virginia Madsen.
Henry Gibson plays Hale Buchman, owner of the Stogies. Teller of Penn and Teller plays his son in a rare talking performance.
Larry Riley plays Joe Louis Brown, a catcher with tremendous power. In one scene, the KKK stops the Stogies’ team bus in the middle of the night. The Stogies chase off the Klan with baseball bats and Brown knocks a burning cross to the ground with a powerful swing.
The Stogies’ chief rival is the Dothan Cardinals. J. Harrell Smythe, the Cardinals’ owner, makes Cantrell and Riley an offer. Throw a decisive game against the Cardinals. Brown gets a brand new car. Cantrell gets a contract with the Dothan Cardinals. An enticing offer for Cantrell considering he never gave up his dream of working in the Cardinals’ organization after losing a spot to Musial.
To see how the story ends, check out Long Gone if you can find it.
Long Gone may be long gone, but not forgotten.
Year in Review
December 31, 2009
by David Krell
david@davidkrell.com
As 2009 turns into 2010, we take a look back at the year in television.
We saw Ziva David leave her role as a Mossad liaison in NCIS and return to the Mossad full-time under the reign of her father, Mossad Chief Eli David.
After she got captured during a mission in North Africa, the NCIS crew rescued her.
And Ziva returned to NCIS as a full-fledged member of the team, thereby abandoning any remaining and confusing loyalties to her father.
We met the team’s Los Angeles counterparts in a crossover appearance that set the stage for the spinoff NCIS: Los Angeles.
We saw Sarah Palin confront David Letterman in the media because of a joke about her daughter’s pregnancy.
And we saw David Letterman in another media controversy rooted in his extracurricular relationships with female staff members.
We saw Jay Leno move to 10:00 pm with the slogan It’s About Time. We saw Conan O’Brien move into The Tonight Show host position with a new studio at NBC Universal.
We saw Jimmy Fallon take over Conan’s old job as the host of Late Night.
We saw Julianna Marguiles return to network prime time as the scorned spouse of an adulterous Chicago politician in The Good Wife. Her character returns to the practice of law after a 15-year absence so she can support her children.
We saw a story line span all three CSI shows during the November sweeps period.
On Entourage, we saw Ari Gold merge his agency, Miller Gold, with the agency of his mentor and nemesis, Terrence McQuewick.
We saw Johnny Chase get his big break with a network holding deal for a television series to be centered on him.
We saw Eric fold up his small talent management company to take a job with a legendary talent management company.
We saw Turtle and Jamie-Lynn Sigler break up.
And we saw Eric and Sloane get engaged.
On cable news channels, we saw a balloon that looked like a huge Jiffy Pop container travel across Colorado and we feared that a six-year-old boy was inside the balloon.
We soon learned that no one was inside. It was a hoax so the parents could get media attention and pitch themselves for a reality show.
We saw Jon and Kate split up.
We saw Southland get cancelled before its second season even aired one episode because its content is suited for a 10:00 pm broadcast time slot, but NBC does not have that time slot available. TNT picked up the show.
We saw the return of sitcom favorites.
Courtney Cox in Cougar Town.
Ed O’Neill in Modern Family.
Kelsey Grammer in Hank.
Patricia Heaton in The Middle.
Ray Romano in Men of a Certain Age.
We saw Jim and Pam get married on The Office.
We saw the end of King of the Hill and the launch of its replacement -- Family Guy spinoff The Cleveland Show.
We saw The Simpsons begin its 20th season.
We saw the debut of Amy Poehler’s comedy, Parks and Recreation.
We saw Chevy Chase finally ready for prime time as part of the ensemble cast of NBC’s rookie comedy, Community.
And we saw America’s favorite high school football coach, Eric Taylor, begin the next chapter of his career in Friday Night Lights. Same town -- Dillon, Texas. Different high school -- East Dillon High.
We saw unknown Taylor Schilling capture our hearts as the lead character in Mercy, Veronica Callahan, a nurse at the fictional Mercy Hospital in Jersey City, New Jersey.
We saw Saturday Night Live begin its 35th season.
We saw a remake of The Prisoner, the revolutionary late 1960’s drama.
And we saw a Seinfeld reunion of sorts on Curb Your Enthusiasm.
We said hello to Royal Pains, White Collar, and Castle.
We said goodbye to Monk, The Unusuals, and Life on Mars.
We also said goodbye to icons of the 60’s, 70’s, and 80’s.
Soupy Sales, who entertained children of the 1960’s as an unofficial precursor to Pee Wee Herman.
Farrah Fawcett, who inspired women in the late 1970’s to wear their hair long and feathered.
And Michael Jackson, who helped launch MTV in the 1980’s with videos that told stories.
2010 is just around the corner. If it’s anything like 2009, it should take us on quite an odyssey in the world of television.
david@davidkrell.com
As 2009 turns into 2010, we take a look back at the year in television.
We saw Ziva David leave her role as a Mossad liaison in NCIS and return to the Mossad full-time under the reign of her father, Mossad Chief Eli David.
After she got captured during a mission in North Africa, the NCIS crew rescued her.
And Ziva returned to NCIS as a full-fledged member of the team, thereby abandoning any remaining and confusing loyalties to her father.
We met the team’s Los Angeles counterparts in a crossover appearance that set the stage for the spinoff NCIS: Los Angeles.
We saw Sarah Palin confront David Letterman in the media because of a joke about her daughter’s pregnancy.
And we saw David Letterman in another media controversy rooted in his extracurricular relationships with female staff members.
We saw Jay Leno move to 10:00 pm with the slogan It’s About Time. We saw Conan O’Brien move into The Tonight Show host position with a new studio at NBC Universal.
We saw Jimmy Fallon take over Conan’s old job as the host of Late Night.
We saw Julianna Marguiles return to network prime time as the scorned spouse of an adulterous Chicago politician in The Good Wife. Her character returns to the practice of law after a 15-year absence so she can support her children.
We saw a story line span all three CSI shows during the November sweeps period.
On Entourage, we saw Ari Gold merge his agency, Miller Gold, with the agency of his mentor and nemesis, Terrence McQuewick.
We saw Johnny Chase get his big break with a network holding deal for a television series to be centered on him.
We saw Eric fold up his small talent management company to take a job with a legendary talent management company.
We saw Turtle and Jamie-Lynn Sigler break up.
And we saw Eric and Sloane get engaged.
On cable news channels, we saw a balloon that looked like a huge Jiffy Pop container travel across Colorado and we feared that a six-year-old boy was inside the balloon.
We soon learned that no one was inside. It was a hoax so the parents could get media attention and pitch themselves for a reality show.
We saw Jon and Kate split up.
We saw Southland get cancelled before its second season even aired one episode because its content is suited for a 10:00 pm broadcast time slot, but NBC does not have that time slot available. TNT picked up the show.
We saw the return of sitcom favorites.
Courtney Cox in Cougar Town.
Ed O’Neill in Modern Family.
Kelsey Grammer in Hank.
Patricia Heaton in The Middle.
Ray Romano in Men of a Certain Age.
We saw Jim and Pam get married on The Office.
We saw the end of King of the Hill and the launch of its replacement -- Family Guy spinoff The Cleveland Show.
We saw The Simpsons begin its 20th season.
We saw the debut of Amy Poehler’s comedy, Parks and Recreation.
We saw Chevy Chase finally ready for prime time as part of the ensemble cast of NBC’s rookie comedy, Community.
And we saw America’s favorite high school football coach, Eric Taylor, begin the next chapter of his career in Friday Night Lights. Same town -- Dillon, Texas. Different high school -- East Dillon High.
We saw unknown Taylor Schilling capture our hearts as the lead character in Mercy, Veronica Callahan, a nurse at the fictional Mercy Hospital in Jersey City, New Jersey.
We saw Saturday Night Live begin its 35th season.
We saw a remake of The Prisoner, the revolutionary late 1960’s drama.
And we saw a Seinfeld reunion of sorts on Curb Your Enthusiasm.
We said hello to Royal Pains, White Collar, and Castle.
We said goodbye to Monk, The Unusuals, and Life on Mars.
We also said goodbye to icons of the 60’s, 70’s, and 80’s.
Soupy Sales, who entertained children of the 1960’s as an unofficial precursor to Pee Wee Herman.
Farrah Fawcett, who inspired women in the late 1970’s to wear their hair long and feathered.
And Michael Jackson, who helped launch MTV in the 1980’s with videos that told stories.
2010 is just around the corner. If it’s anything like 2009, it should take us on quite an odyssey in the world of television.
Gil Grissom
July 28, 2009
by David Krell
david@davidkrell.com
Two days after Barack Obama took the Oath of Office and became the 44th President of the United States on January 20, 2009, another transfer of power took place.
Laurence Fishburne took over the lead role on CSI after a story arc introducing his character -- Dr. Raymond Langston, a former pathologist turned professor.
Las Vegas CSI team leader Gil Grissom met Dr. Langston when he audited one of the professor's classes where a serial killer is interviewed via satellite by students. William Petersen plays Grissom who also has a Ph.D.
Grissom's quest, as always, is to find information that will help him in a current case.
His cover is blown after he shouts a question that Langston immediately recognizes as one that would only be asked by a cop.
During his tenure on CSI, Petersen's depiction of Grissom showed a multi-layered character. Fascinated by people and their motives, psychology, and behavior, Grissom took a pure observer's role in his investigations.
One CSI episode dealt with furry fandom, a lifestyle where people dress up in full-body animal costumes and sometimes engage in sexual behavior.
While team member Catherine Willows thought the lifestyle was disgusting, Grissom looked at it as a scientist observing a subculture.
Grissom also became entranced with Lady Heather, a dominatrix played expertly by Melinda Clarke.
Clarke made several appearances on CSI that led to an ambiguous relationship between the Ph.D. entymologist turned crime solver and the dominatrix.
When Grissom walked through the CSI offices for the last time, he looked at the members of his team doing their jobs. And a smile crossed his face, telling the audience that he'll miss his co-workers but he knows they can move forward without him.
Perhaps the greatest expression of the love the team had for its leader took place as Grissom looked at Catherine Willows and Jim Brass through a window as they discussed a case in a conference room. Paul Guilfoyle plays Brass and Marg Helgenberger plays Catherine.
Played by the ageless, beautiful, and deeply talented Helgenberger, Catherine looks up and sees Grissom. She slowly winks at him and they share a smile that reveals the tremendous love, respect, and friendship linking the two veteran CSI investigators.
In the last scene, we see Grissom's destiny. He's walking through a jungle in Costa Rica with a GPS guiding him.
Grissom finds his way to a camp where he sees his former love and CSI subordinate Sara Sidle, played by Jorja Fox. Their romance initially took place in seasons past.
Fox left the show and returned for a short stint only to leave again.
Grissom and Sara embrace, thereby satisfying fans who wanted this particular case of television romance closed.
david@davidkrell.com
Two days after Barack Obama took the Oath of Office and became the 44th President of the United States on January 20, 2009, another transfer of power took place.
Laurence Fishburne took over the lead role on CSI after a story arc introducing his character -- Dr. Raymond Langston, a former pathologist turned professor.
Las Vegas CSI team leader Gil Grissom met Dr. Langston when he audited one of the professor's classes where a serial killer is interviewed via satellite by students. William Petersen plays Grissom who also has a Ph.D.
Grissom's quest, as always, is to find information that will help him in a current case.
His cover is blown after he shouts a question that Langston immediately recognizes as one that would only be asked by a cop.
During his tenure on CSI, Petersen's depiction of Grissom showed a multi-layered character. Fascinated by people and their motives, psychology, and behavior, Grissom took a pure observer's role in his investigations.
One CSI episode dealt with furry fandom, a lifestyle where people dress up in full-body animal costumes and sometimes engage in sexual behavior.
While team member Catherine Willows thought the lifestyle was disgusting, Grissom looked at it as a scientist observing a subculture.
Grissom also became entranced with Lady Heather, a dominatrix played expertly by Melinda Clarke.
Clarke made several appearances on CSI that led to an ambiguous relationship between the Ph.D. entymologist turned crime solver and the dominatrix.
When Grissom walked through the CSI offices for the last time, he looked at the members of his team doing their jobs. And a smile crossed his face, telling the audience that he'll miss his co-workers but he knows they can move forward without him.
Perhaps the greatest expression of the love the team had for its leader took place as Grissom looked at Catherine Willows and Jim Brass through a window as they discussed a case in a conference room. Paul Guilfoyle plays Brass and Marg Helgenberger plays Catherine.
Played by the ageless, beautiful, and deeply talented Helgenberger, Catherine looks up and sees Grissom. She slowly winks at him and they share a smile that reveals the tremendous love, respect, and friendship linking the two veteran CSI investigators.
In the last scene, we see Grissom's destiny. He's walking through a jungle in Costa Rica with a GPS guiding him.
Grissom finds his way to a camp where he sees his former love and CSI subordinate Sara Sidle, played by Jorja Fox. Their romance initially took place in seasons past.
Fox left the show and returned for a short stint only to leave again.
Grissom and Sara embrace, thereby satisfying fans who wanted this particular case of television romance closed.
Desperate Networks
April 18, 2009
by David Krell
david@davidkrell.com
A television show actually reaching the airwaves is a combination of talent, creativity, and luck.
Pitches. Pilots. And the selection of the few that will be broadcast from the many that are proposed.
Focus groups. Research. And certainly instinct play important roles in the process.
Desperate Networks by Bill Carter outlines the process in painstaking detail.
With a writing style that makes the reader feel as if he or she was in the room at the time of decision, Carter succeeds in his effort to get beyond the sex appeal of television and break down the business aspects in an easy-to-read fashion.
For example, Carter shows us how three monster hits successfully completed the maze of the network programming process after initial reactions that may have been lukewarm at best.
NBC heard the pitch for Desperate Housewives and rejected it before ABC took it and made suburbia sexy. More than just Knots Landing redux, Desperate Housewives is funny, dramatic, and at times, poignant.
ABC used it to capture the Sunday night female audience after Sex and the City left HBO.
CBS heard the pitch for CSI and, to the surprise of CBS chief Les Moonves, the script lured character actor William Petersen, a journeyman actor for whom CBS was trying to find a show. There are now three versions of CSI.
Mark Burnett created Survivor. Burnett, a former military man and nanny, had some experience with a prior show focused on physical tests.
Carter also shows us how 2004 belonged to ABC with the alphabet network benefiting from two rookie shows, Desperate Housewives and Lost. The last time a network rebounded with similar rookie sensations was 1994 when NBC debuted Friends and ER, thereby launching Must See TV.
Carter’s description of the journey Lost took to ABC is wonderful, that is to say, the reader will be full of wonder why this gigantic hit almost didn’t make it.
Desperate Networks benefits from Carter’s behind-the-scenes access, a journalist’s eye, and years of credibility from his work as a reporter at The New York Times and author of The Late Shift, a book about the succession to Johnny Carson, the King of Late Night.
In the 80’s, networks grew concerned about the impact of VCR’s on the number of people watching television shows at the time of broadcast. Why would somebody watch a show when he or she could simply tape it and watch it at a time more convenient. Advertisers grew concerned because that time-shifting ability could result in less eyeballs watching the commercials.
Twenty years later, the concerns are bigger and Desperate Networks shows the concerns and their impact in the executive suites quite nicely.
More cable channels.
More improvements in video games.
More use of the Internet.
More, more, more, means less, less, less viewers watching television.
Desperate Networks shows that the stories in network offices about how some shows are created, produced, and marketed are sometimes more compelling than the shows themselves.
david@davidkrell.com
A television show actually reaching the airwaves is a combination of talent, creativity, and luck.
Pitches. Pilots. And the selection of the few that will be broadcast from the many that are proposed.
Focus groups. Research. And certainly instinct play important roles in the process.
Desperate Networks by Bill Carter outlines the process in painstaking detail.
With a writing style that makes the reader feel as if he or she was in the room at the time of decision, Carter succeeds in his effort to get beyond the sex appeal of television and break down the business aspects in an easy-to-read fashion.
For example, Carter shows us how three monster hits successfully completed the maze of the network programming process after initial reactions that may have been lukewarm at best.
NBC heard the pitch for Desperate Housewives and rejected it before ABC took it and made suburbia sexy. More than just Knots Landing redux, Desperate Housewives is funny, dramatic, and at times, poignant.
ABC used it to capture the Sunday night female audience after Sex and the City left HBO.
CBS heard the pitch for CSI and, to the surprise of CBS chief Les Moonves, the script lured character actor William Petersen, a journeyman actor for whom CBS was trying to find a show. There are now three versions of CSI.
Mark Burnett created Survivor. Burnett, a former military man and nanny, had some experience with a prior show focused on physical tests.
Carter also shows us how 2004 belonged to ABC with the alphabet network benefiting from two rookie shows, Desperate Housewives and Lost. The last time a network rebounded with similar rookie sensations was 1994 when NBC debuted Friends and ER, thereby launching Must See TV.
Carter’s description of the journey Lost took to ABC is wonderful, that is to say, the reader will be full of wonder why this gigantic hit almost didn’t make it.
Desperate Networks benefits from Carter’s behind-the-scenes access, a journalist’s eye, and years of credibility from his work as a reporter at The New York Times and author of The Late Shift, a book about the succession to Johnny Carson, the King of Late Night.
In the 80’s, networks grew concerned about the impact of VCR’s on the number of people watching television shows at the time of broadcast. Why would somebody watch a show when he or she could simply tape it and watch it at a time more convenient. Advertisers grew concerned because that time-shifting ability could result in less eyeballs watching the commercials.
Twenty years later, the concerns are bigger and Desperate Networks shows the concerns and their impact in the executive suites quite nicely.
More cable channels.
More improvements in video games.
More use of the Internet.
More, more, more, means less, less, less viewers watching television.
Desperate Networks shows that the stories in network offices about how some shows are created, produced, and marketed are sometimes more compelling than the shows themselves.
New York City Cops
April 17, 2009
by David Krell
david@davidkrell.com
The New York City cop is a staple of television programming.
Naked City.
NYPD.
NYPD Blue.
Just three examples of the Big Apple’s representation on the television landscape.
While early visual evidence shows Hill Street Blues with a setting in Chicago, later dialogue used phrases to indicate a New York City locale. For example, upstate is a phrase frequently used by New Yorkers. An early episode uses the geographic phrase, East River.
Generally, though, the producers did not state a particular setting for Hill Street Blues.
Third Watch used cops and fireman as the major characters.
CSI: New York is the third version of CSI.
New York Undercover was a FOX offering in the 1990’s, geared to a younger audience with younger detectives answering to Patti D’Arbanville as the seasoned boss.
Law & Order debuted in 1990 and it’s still on the air with two other shows in the family: Law & Order: SVU and Law & Order: Criminal Intent.
Lennie Briscoe, Mike Logan, Elliot Stabler, Olivia Benson, Don Cragen, Ed Green, Anita Van Buren, Rey Curtis, and John Munch are some of the detectives in the Law & Order universe.
Richard Belzer originally played John Munch on Homicide and moved to SVU when Homicide ended.
NYPD Blue is another cop show with a long history. A breakthrough show in 1993, NYPD Blue launched David Caruso into the celebrity stratosphere. He landed with a thud when he left the show less than two years later. His comeback on CSI: Miami seems to make up for the prior lost opportunity.
Caruso’s departure opened the door for Jimmy Smits, Rick Schroeder, and Mark-Paul Gosselear to work alongside Dennis Franz, the actor who embodied perhaps the most dysfunctional cop in television history, Andy Sipowicz.
Frequently, the source of Andy’s strength was his relationship with his partners, allowing him to put self-destructive actions to rest: excessive drinking, sex with hookers, overtly acting defiant to his Lieutenant, Arthur Fancy because of racial attitudes.
Dennis Farina, the Chicago cop turned actor who made his big debut on Crime Story in the 1980’s, said that the most realistic depiction of police work was on Barney Miller.
Set in a Greenwich Village precinct, Barney Miller was a mixture of racial diversity, wry humor, and depth of characters -- detectives and perpetrators.
Barney Miller rarely went beyond the squad room during its run from 1974-1982.
In the last episode, Barney got his long-awaited and well-deserved promotion to Deputy Inspector.
The representation of New York’s Finest on television will surely continue in the 21st century.
But one thing remains the same, whether they use high-technology on CSI: NY or old-fashioned detective work on Law & Order, New York’s Finest have the tremendous task of catching the bad guys and making the streets safe.
david@davidkrell.com
The New York City cop is a staple of television programming.
Naked City.
NYPD.
NYPD Blue.
Just three examples of the Big Apple’s representation on the television landscape.
While early visual evidence shows Hill Street Blues with a setting in Chicago, later dialogue used phrases to indicate a New York City locale. For example, upstate is a phrase frequently used by New Yorkers. An early episode uses the geographic phrase, East River.
Generally, though, the producers did not state a particular setting for Hill Street Blues.
Third Watch used cops and fireman as the major characters.
CSI: New York is the third version of CSI.
New York Undercover was a FOX offering in the 1990’s, geared to a younger audience with younger detectives answering to Patti D’Arbanville as the seasoned boss.
Law & Order debuted in 1990 and it’s still on the air with two other shows in the family: Law & Order: SVU and Law & Order: Criminal Intent.
Lennie Briscoe, Mike Logan, Elliot Stabler, Olivia Benson, Don Cragen, Ed Green, Anita Van Buren, Rey Curtis, and John Munch are some of the detectives in the Law & Order universe.
Richard Belzer originally played John Munch on Homicide and moved to SVU when Homicide ended.
NYPD Blue is another cop show with a long history. A breakthrough show in 1993, NYPD Blue launched David Caruso into the celebrity stratosphere. He landed with a thud when he left the show less than two years later. His comeback on CSI: Miami seems to make up for the prior lost opportunity.
Caruso’s departure opened the door for Jimmy Smits, Rick Schroeder, and Mark-Paul Gosselear to work alongside Dennis Franz, the actor who embodied perhaps the most dysfunctional cop in television history, Andy Sipowicz.
Frequently, the source of Andy’s strength was his relationship with his partners, allowing him to put self-destructive actions to rest: excessive drinking, sex with hookers, overtly acting defiant to his Lieutenant, Arthur Fancy because of racial attitudes.
Dennis Farina, the Chicago cop turned actor who made his big debut on Crime Story in the 1980’s, said that the most realistic depiction of police work was on Barney Miller.
Set in a Greenwich Village precinct, Barney Miller was a mixture of racial diversity, wry humor, and depth of characters -- detectives and perpetrators.
Barney Miller rarely went beyond the squad room during its run from 1974-1982.
In the last episode, Barney got his long-awaited and well-deserved promotion to Deputy Inspector.
The representation of New York’s Finest on television will surely continue in the 21st century.
But one thing remains the same, whether they use high-technology on CSI: NY or old-fashioned detective work on Law & Order, New York’s Finest have the tremendous task of catching the bad guys and making the streets safe.