Retro Television Review: Homicide: Life On The Street 5.22 “Strangers And Other Partners”

Posted on August 23, 2026 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.

This week, season 5 comes to a close.

Episode 5.22 “Strangers And Other Partners”

(Dir by Kenneth Fink, originally aired on May 16th, 1997)

It’s all hands on deck as the Homicide squad investigates the murder of Beau Felton. This episode opens with Giardello announcing that Pembleton will be the primary and that they will all be working with Detective Falsone (Jon Seda) of the auto squad and Detective Gharty (Peter Gerety) of Internal Affairs.

“I ain’t working with anyone from IID!” Falsone snaps.

Hey, Falsone — you’re a guest star. Shut up and do what you’re told, you prick.

The fifth season finale is a mess. Some of that is because Beau Felton was never a strong enough a character for his death to have the emotional kick that it’s obviously meant to have. Felton was not Crosetti. Felton wasn’t some sort of beloved icon. Felton was a jerk whose storylines were usually the least interesting of the show’s first three seasons.

An even bigger problem is that the emphasis is not on the detectives who we all know and love but instead on Falsone and Gharty. Falsone and Gharty go from being at each other’s throats to teaming up to use a shared informant to get the evidence they need to go after Felton’s murderer. Peter Gerety does a good job as Gharty. It helps that Gharty has a compelling storyline. He’s a cop that many people have dismissed as being a coward. He’s trying to prove himelf.

Falsone, on the other hand …. seriously, what is the deal with this douchebag? He spends this episodes strutting around in his stupid leather jacket, threatening to beat up people. I get that he’s supposed to be a tough cop but he just comes across like a jackass with anger management issues. It doesn’t help that actor Jon Seda gives a one-note performance in the role.

This whole episode is basically an introduction for Gharty and Falsone. The other Homicide cops are pushed to the side so that these two can grab some legitimacy before becoming regular characters during season 6. Gharty seems like he’ll be an okay addition to the ensemble. Falsone, on the other hand, should be allowed nowhere near a show like Homicide.

While all of that is going on, Kellerman and Cox are both struggling with their drinking. I’m a little bit tired of Kellerman and Cox, to be honest. Kellerman, at least, has a compelling storyline with the Luther Mahoney shooting. Dr. Cox, on the other hand, is starting feel superfluous. No one from the Homicide squad can step into a bar without running into Dr. Cox.

Finally, Pembleton and Mary meet and agree to give their marriage another try. Good.

This episode (and the season) ends with Felton’s murderer still on the run. Giardello announces that the Baltimore police department is instituting a new policy in which detectives will rotate from unit to unit. “In three months,” he tells the detectives, “none of us may be here.”

Season 5 was pretty good so it’s unfortunate that the finale was a mess. The strength of Homicide has always been its ensemble of quirky, flawed, and heart-breakingly human cops. Using the final episode of the season to focus on a one-note character like Paul Falsone almost feels insulting to the rest of the cast.

Next week, we start season 6!

Retro Television Review: Miami Vice 5.20 “Leap of Faith”

Posted on April 6, 2026 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!

When is Miami Vice not Miami Vice?

Episode 5.20 “Leap of Faith”

(Dir by Robert Iscove, originally aired on June 28th, 1989)

A crazed college professor named Terry Baines (Keith Gordon) is making his own designer drugs and selling them to the cult-like college students who worship his every move. Terry thinks that the drugs will help people move into a dream state. However, Terry also doesn’t care how many people die as a result of entering that dream state. Terry is obviously crazy but he’s got tenure.

Fortunately, the youthful cops of the Young Victims Unit are able to go undercover as college students and infiltrate Terry’s organization. Joey Harden (Justin Lazard) is the newest member of the squad. He’s a cop who does things his way! Zach (Cameron Dye) is the wild man. He’s from Arkansas! And Ray Mundy (Adam Storke), he’s a surfer from California! Their boss is Lt. Paul Cutter (Kiel Martin). Tania Louis (Laura San Giacomo) is their computer expert. Together, they’re….

….not Crockett and Tubbs!

Crockett and Tubbs appear at the start of the episode and then Crockett appears in another scene, in which it’s established that he and Cutter have a contentious relationship. Otherwise, this really isn’t an episode of Miami Vice. Instead, it’s a pilot for a show about the Young Victims Unit. The pilot never became a series and, watching this episode, one can see why. The three undercover cops are all way too similar. They seem like three different versions of the same guy. Kiel Martin and Laura San Giacomo at least manage to bring some life to their characters but the rest of the cast is just bland. The best performance comes from Keith Gordon and he’s dead by the end of the episode.

Next week …. Miami Vice comes to an end as Tubbs falls in love and Crockett refuses to get a haircut.

Retro Television Review: Homicide: Life On The Street 5.4 “Bad Medicine”

Posted on April 5, 2026 by Lisa Marie Bowman

This week, drug lord Luther Mahoney returns.

Episode 5.4 “Bad Medicine”

(Dir by Kenneth Fink, originally aired on October 25th, 1996)

Someone is selling bad heroin in Baltimore. This episode opens with a montage of dead junkies being discovered. Detective Munch explains to a uniformed cop why he has to stick around until it’s firmly established that the latest dead junkie died of an overdose and not something like a hit to the back of the head. Munch says that everything he knows, he learned from his ex-partner. Hey, Munch, Bolander’s not coming back! You have to accept it.

Things are looking grim for Giardello’s detectives. Megan Russert has run off to Europe. Bolander is retired. Felton is missing. Frank is recovering from his stroke and still needs to pass his firearms exam. And now, Kellerman has been accused of taking bribes while working as an arson investigator. Kellerman is given desk duty, which means that he can’t help Lewis pursue drug kingpin Luther Mahoney (Erik Todd Dellums).

Mahoney returns in this episode, dragged into the box and accused of murdering a rival dealer. Mahoney is his usual smug snake self but Lewis and his temporary partner, Narcotics Detective Terri Stivers (Toni Lewis), are convinced that they’ve finally got him where they want him. First off, there’s a junkie who has been bullied into informing on Luther. Plus, Luther slips up and reveals that he knew some facts about the murder that were not released to the press. Is Luther Mahoney going down!?

Well, don’t get too excited. Ed Danvers informs them that their evidence isn’t enough to get a conviction. Juries don’t trust junkies. Luther could have heard the details of the murder on the street. Everyone knows that Luther is guilty but no one can prove it beyond a reasonable doubt. Luther goes free and the informant ends up dead.

Meanwhile, Frank Pambleton stops taking his medicine so that he can concentrate on passing his firearms exam. He still fails. Even though he was able to hit the target, he took too long reloading his gun. Pembleton starts to take his medicine again.

Finally, Brodie still doesn’t have anywhere to live. He stayed with Munch for one night and then voluntarily left. (The reasons why are left ambiguous but it’s suggested that Brodie came across Munch’s private drug stash and freaked out.) Brodie moves in with Bayliss and quickly makes things awkward by overanalyzing the Mighty Mouse cartoon that Bayliss is watching. Brodie explains that Mighty Mouse is an agent of chaos and Bayliss looks like he’s already realized this living arrangement is not going to work.

This was a properly cynical episode, one where the main theme seemed to be that our heroes are fighting a losing war. Giardello is running low on detectives. Kellerman is put on desk duty because of one weak accusation. Pembleton has to pass a firearms exam, despite rarely having to draw his gun. In the end, men like Luther Mahoney walk free while the addicts caught in-between end up dead in the street.

That’s life in Charm City.

Retro Television Review: Homicide: Life On The Street 4.4 “A Doll’s Eyes”

Posted on August 31, 2025 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, Lisa will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.

This week’s episode made me cry and cry.

Episode 4.4 “A Doll’s Eyes”

(Dir by Kenneth Fink, originally aired on December 1st, 1995)

Here in America, there’s recently been a lot of debate about how much of a problem crime actually is. It’s a bit of an odd debate because much of it is based on telling people to ignore what they’re seeing and experiencing and to instead, just take comfort in abstract statistics and numbers. “Actually,” we’re told, “crime is down from last year,” as if the claim that there’s slightly less of it being reported somehow negates the fact that it exists.

Those who say that crime is not a big deal often forget that crime is not just a matter of statistics and police reports. Crime is something that happens to people. It’s something that scars people. It’s not something that most people can just shrug off. Every crime is different and everyone reacts to being a victim in their own individual way but react, they do. It’s easy to be dismissive of people’s concerns about crime when you’re not the one getting your house broken into or hearing gunshots in the night. It’s easy to say “It was just a mugging,” when you’re not the one getting mugged and losing whatever trust you may have once had in the system. Seth Rogen once tweeted that he didn’t care that his car got broken into because he wasn’t into worrying about possessions. That’s easy to say when you can just buy a new car whenever you feel like it. For someone who can’t and is now stuck with the knowledge that they’re not even safe in their own car, it’s considerably more difficult to be so cavalier. Crime is about more than just statistics and numbers. For those who have been victimized, it’s about loss. It’s about never feeling truly safe or secure again.

This week’s episode of Homicide fellows Pembleton and Bayliss as they investigate a shooting at a mall. A young boy was caught in the crossfire and now, he’s on life support at the hospital. For Pembleton and Bayliss, it starts out as another case. Tracking down the shooters is not difficult. Getting the shooters to confess is not difficult. Pembleton and Bayliss aren’t dealing with master criminals here.

For the boy’s parents (played, in two heart-breaking performances, by Marcia Gay Harden and Gary Basaraba), the shooting of their son is the moment that their lives stopped. They’re the one who eventually have to make the decision to take their son off of life support. Hearing that their son’s organs were donated and are helping other people provides cold comfort. Their only son is dead and, as this episode make clear, they’re not going to be okay. Some would describe their son as just being another statistic, part of the count of how many people died in Baltimore during any given year. For his parents, he’s Patrick, a 10 year-old who loved dinosaurs and science and whose life was ended because he was in the wrong place at the wrong time. When Bayliss runs into the father of a girl who got an organ transplant as the result of the Patrick’s death, the girl’s father muses on how strange it is that one child died so that his girl could live. It’s a powerful moment, one that really captures the humanity at the heart of this show’s best episodes. Patrick’s parents will never recover but his murder has led to other people being saved. Was it worth the cost? The show is smart enough to leave the question for us to ponder.

This episode made me cry. It reminded me a bit of season 2’s Bop Gun, with its mix of the family trying to deal with an unimaginable tragedy while, for Pembleton and Bayliss, it’s another day at work. I would actually say this episode was superior to Bop Gun. Bop Gun tried too hard to wrap things up. A Doll’s Eyes understands that sometimes, this is no way to wrap things up. Life just keeps moving.

Retro Television Review: Homicide: Life On The Street 3.18 “In Search of Crimes Past”

Posted on July 20, 2025 by Lisa Marie Bowman

This week, Giardello sets a dangerous precedent.

Episode 3.18 “In Search of Crimes Past”

(Dir by Kenneth Fink, originally aired on April 14th, 1995)

A woman (Felicia Shakman) takes Colonel Barnfather hostage, pointing a gun at his head and demanding that Bolander reopen the investigation into a murder that occurred sixteen years ago. Bolander was the primary on the murder and the man that he arrested is scheduled to be executed in just a matter of hours. The woman with the gun is the man’s daughter. Russert wants to bring in the hostage negotiators but Giardello instead orders Bolander to take a look at the files and the evidence and to try to see if he arrested the wrong man.

I’m not really sure I buy Giardello’s response. Giardello claims he has no choice but actually, it seems to me that Giardello is setting a dangerous precedent. In Baltimore, if you think a relative has been wrongly convicted, you can apparently just take someone hostage and demand the case be reopened. I’m not sure those are the rules that anyone wants to set.

Now, of course, it turns out that Bolander did arrest the wrong guy. It perhaps would have been more interesting if Bolander had look at the files and said, “Yeah, I got the right guy,” but then this episode wouldn’t be able to make a statement against the death penalty. Bolander realizes that he made a mistake and also that the actual murderer is a man who committed suicide that very evening.

While that’s going on, Pembleton and Bayliss investigate the death of an elderly woman who appears to have slipped and drowned in her bathtub. Her husband (Barnard Hughes) seems to be heartbroken. Of course, the husband actually killed her. He has fallen in love with another woman and he killed his wife so that he could be with her. I preferred this storyline to the Bolander one, just because it featured a lot of Pembleton/Bayliss scenes and a good performance from Barnard Hughes.

Finally, Munch hired a new bartender. He didn’t bother to tell his partners beforehand but how could Lewis and Bayliss possibly complain about Munch hiring Jerry Stiller to tend bar? (Technically, Stiller was playing an Irishman named McGonical.) This was a minor but likeable storyline, mostly because of Jerry Stiller’s likably bizarre performance.

So, this was yet another good but not great episode. The Bolander storyline was a bit too melodramatic for its own good. It’s not the sort of thing that would have happened during the show’s first two seasons, back when the whole point was to be realistic. But that Bayliss/Pembleton storyline featured the show’s two most compelling characters doing what they did did best. This episode was not perfect but it held my attention nonetheless.

Retro Television Review: Homicide: Life On The Street 3.10 “Every Mother’s Son”

Posted on May 4, 2025 by Lisa Marie Bowman

This week, life and death both continue in Baltimore.

Episode 3.10 “Every Mother’s Son”

(Dir by Kenneth Fink, originally aired on January 6th, 1995)

Let’s get the least important part of this week’s episode out of the way first. Felton is still looking for his wife and kids. He abandons Kay while she’s in the middle of a homicide investigation. When Kay calls him out on it, Felton brings up the fact that she went on vacation for a weekend. The difference is that Felton isn’t taking vacation days. Instead, he’s just leaving in the middle of work and expecting Kay to handle all of his cases.

BEAU FELTON — WORST HOMICIDE DETECTIVE EVER!

Meanwhile, Lewis and Munch discover that their bar is a historical landmark because George Washington once stopped there to use the restroom. The bar stuff, while not really related to the episode’s main drama, didn’t feel as unnecessary as the stuff with Felton’s family. A lot of that is because Lewis, Munch, and Bayliss are a lot more sympathetic than Felton. This week’s scenes with Howie Mandel as an interior decorator felt a bit off for an episode of Homicide but they still amused me. That said, at some point, these three really are going to have to get it together and open the place.

As for the main storyline, it featured Pembleton and Bayliss investigating the shooting of a 13 year-old in a bowling alley. It’s a familiar story, one that this show has used before. The fact that we’ve seen it before is not a reflection on the show. It’s reflection of the reality of life on the streets. The murderer was another kid, one who was now facing life in prison if he ended up getting charged as an adult. The murderer showed little remorse, telling Pembleton that he would rather be in jail than the on the streets. What made this episode stand out was a scene between two mothers — one the mother of the victim and the other the mother of the shooter — meeting by chance in a police station and striking up a conversation despite not knowing who the other was. Gay Thomas Wilson and Rhonda Stubbins White both gave excellent and poignant performances of two women who, by the end of the show, would have both ended up losing their oldest son.

This was a simple but effective episode, a moody look at the ironies of death and violence in Baltimore. George Washington once stopped by the Waterfront Bar but that doesn’t mean anything to the people who are dying and suffering in the city. In the end, Pembleton could only look on in silene as the shooter announced that he was happy to be in jail. “You’re probably going to die in a cell just like this,” Pembleton says.

“Better here than on the streets,” is the reply.

And nothing more is left to be said.