Retro Television Review: Crime Story 1.3 “Shadow Dancer”

Posted on May 11, 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 Crime Story, which ran on NBC from 1986 to 1988. The entire show can be found on Tubi!

This week, Torello’s war on Luca continues!

Episode 1.3 “Shadow Dancer”

(Dir by Leon Ichaso, originally aired on September 26th, 1986)

With the frequency killer now dead, Torello and his men are once again free to focus on trying to bust Ray Luca. The sooner they do it, the better. For one thing, Torello is becoming so obsessed that, even though his wife is pregnant, Torello’s dreams are still dominated by Luca taunting him. Also, Luca’s latest robbery has resulted in a death. Vincent Noonan (Michael Kemmerling), a former cellmate of Frank Holman’s (Ted Levine,) lost it during their latest home invasion and beat to death Mrs. Novak (Nancy Sheeber).

(Noonan, it turns out, has a history of losing control. It probably wasn’t a good idea to hire him in the first place but, with Luca no refusing to personally take part in robberies, the crew had to find a third man and quickly. Holman recommended Noonan because of how loyal Noonan was to him in prison)

Eager to solve the case and take down Luca, the Major Case Unit starts to put pressure on Luca’s boss, Phil Bartoli (Jon Polito). After his weekly craps game is broken up by Danny Krychek, Bartoli tells Luca that he has to do something to get the police to back off. Bartoli orders him to turn Noonan over to the police. Luca, who no longer handles dirty work himself, tells Holman to take care of it. Holman sends Noonan on a job and then tips off Torello. Despite Danny telling him that Noonan would die before turning into a rat, Torello is convinced that, if he takes Noonan alive, he’ll be able to get Noonan to give up Luca. (What Torello doesn’t realize is that Noonan has never actually met Luca. To quote Willy Cicci, “The family had lots of buffers.”)

It’s all for naught, though. Torello and the cops chase Noonan all over the streets of Chicago and, in the end, Noonan dies while trying to escape. Much like Homicide’s Luther Mahoney, Luca appears to be untouchable …. for now.

This episode worked best as a character study. After last week’s somewhat over-the-top villain, this episode reminded us that Luca and Torello are two tightly-wound men who struggle with emotion. Beyond his own self-absorption, Luca lacks the emotions necessary to truly understand his fellow humans. Torello, meanwhile, gets too emotional. Whether he’s pursuing Ray Luca or snapping at a condescending salesman, Torello is a self-styled crusader who appears to be going slowly but surely insane. This wasn’t a particularly complex episode but it felt important. It was a reminder of what this show is all about.

Retro Television Review: Crime Story 1.2 “Final Transmission”

Posted on May 4, 2026 by Lisa Marie Bowman

This week, Torello and company search Chicago for a serial killer.

Episode 1.2 “Final Transmission”

(Dir by Leon Ichaso, originally aired on September 19th, 1986)

Mike Torello and the members of the MCU would really like to go after Luca and his crew but, unfortunately, there’s a serial killer on the loose in Chicago. Realizing that the MCU is going to be tied up trying to track down Ray Pernell (John Snyder) before he kills again, Luca orders his crew to commit even more robberies. Luca explains to a crestfallen Paulie that Luca will no longer be taking part in the robberies. Luca is the boss and the boss doesn’t get his hands dirty. Instead, Luca spends most of this episode meeting with Murray Weisbord’s man in Chicago, Max Goldman (Andrew Dice Clay).

This was an odd episode. On the one hand, the show went out of its way to recreate Chicago in the early 60s. The soundtrack was early rock and roll. The cars all had tailfins. The suits, the cigarettes, Luca’s haircut, all of the details screamed 1960s. But then the episode revolved around a serial killer who thought his mother was addressing him through the television and who looked and dressed like a late 70s punk rocker. I assume that Ray Pernell was based on Richard Speck, the notorious Chicago serial killer who, in 1966, murdered 8 student nurses. Like Speck, Pernell had an identifying tattoo and both men were traced through the National Maritime Union. That said, Pernell just seemed so out-of-place, with his sleeveless shirt and his punkish haircut that he just didn’t seem to belong in the world of Crime Story.

That said, I will give this episode some credit. In the pilot, Luca often seemed like a clueless punk. In this episode, he quickly realized that the MCU would be too busy hunting for Pernell to devote much time to him and he took advantage of that fact. Luca’s not quite as dumb as he sometimes seems. This episode also showed that he was capable of thinking ahead. When he suspects that someone is listening in on his conversation with Goldman, he resists the temptation to burst into the room next door with his gun drawn. (If he had, he would have run straight into Torello and Danny.) This episode shows that Luca is learning and growing. He not the buffoonish hothead that Torello originally assumed him to be. In fact, he’s even more dangerous.

This episode ends with Pernell somehow (it’s not really clear how) taking an entire television news broadcast hostage. Torello takes him down as the cameras roll and the entire city of Chicago watches. It’s not a bad ending but it just doesn’t feel right for the show. It’s a Miami Vice ending. This is Crime Story!

Retro Television Review: Miami Vice 4.15 “Indian Wars”

Posted on August 11, 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 Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!

This week, Castillo goes undercover!

Episode 4.15 “Indian Wars”

(Dir by Leon Ichaso, originally aired on February 26th, 1988)

The Vice Squad is trying to take down Colombian drug dealer Acosta (Joe Lala). Acosta does not trust gringos so Crockett can’t pretend to be Burnett this week. Instead, he’s temporarily promoted to head of the Vice Squad while Castillo goes undercover. Castillo explains to his bosses that, as a Latino, he’s the only one who can do it. I’m not sure that I really buy Castillo’s argument. Do you mean to tell me that, in Miami, there’s only one Latino detective working Vice? If that’s true, someone really needs to talk to whoever is in charge of giving the detectives their assignments.

Acosta is soon taken out of the picture and replaced by the even more evil Levec (played by the great character actor, Joe Turkel). Castillo discovers that both Acosta and Levec are being attacked by a paramilitary force that is made up of Native Americans. Tubbs goes undercover as an anthropologist and discovers that the local Indian chief has made a deal with the drug dealers and his son (Patrick Bishop) is not happy about it. However, it turns out that the chief’s son is actually an aspiring drug lord himself and that his whole vigilante act is really just his way of getting rid of the competition.

This was not a bad episode, particularly when compared to some of the other episodes that aired during the fourth season. Joe Turkel made for a great villain and the scenes of the Indians attacking the drug dealers were properly atmospheric. The episode even includes a small homage to the final showdown from Scarface. Philip Michael Thomas was mildly amusing when he pretended to be a nerdy anthropologist. Meanwhile, Don Johnson was barely in this episode at all. This episode was all about Edward James Olmos’s smoldering intensity as Castillo.

Again, it wasn’t a bad episode but it still felt like it was missing something. As with so much of season 4, it felt like the show was just growing through the motions. In this case, it went through those motions with a bit more skill than it did in some of the season’s other installments. This episode didn’t feature any aliens or any bull semen. That made it a definite improvement over at least two season 4 episodes. Still, this episode largely felt like Miami Vice on autopilot.

Retro Television Review: Miami Vice 4.9 “The Rising Sun of Death”

Posted on June 30, 2025 by Lisa Marie Bowman

This week, the Yakuza invades Miami.

Episode 4.9 “The Rising Sun of Death”

(Dir by Leon Ichaso, originally aired on May 27th, 1988)

Castillo is concerned. The murder of an American businessman leads him to suspect that the Yakuza has come to Miami and it turns out that he’s right. Riochi Tanaka (James Hong), a World War II war criminal-turned-mobster, is trying to take over the Miami underworld. While corrupt Homicide Detective Haskell (R. Lee Ermey) tries to convince everyone that the Yakuza is just a myth, Castillo teams up with Japanese detective Kenji Fujitsu (Cary-Hiroyuki Tagawa) to takes down Tanaka and his right-hand man, Agawa (Danny Kamekoa). Needless to say, this leads to a fight with samurai swords, a lot of talk of honor, and a seppuku to close the case.

This episode hit every Yakuza cliche and the plot itself felt as if it had been put together at the last minute. (This is one of those episodes where every plot hole is dismissed as being a cultural difference.) We’re expected to believe that Tanaka could outsmart the Allies during World War II but he couldn’t outsmart the Miami Vice Squad. As well, of the major Japanese characters, only one was played by Japanese actor. Danny Kamekoa is a Hawaiian while James Hong is of Chinese descent.

That said, this episode was shot and filmed with a lot of style and it found an excuse to play Billy Idol’s Flesh For Fantasy during one of the early scenes. There’s something to be said for that. Neither Crockett nor Tubbs really did much in this episode but we did get to see Crockett house hunting with Cailtin. It’s mentioned that everyone thinks that Caitlin’s new husband is named Sonny Burnett instead of Sonny Cockett. That’s fine …. except for the fact that Sonny Crockett has previously been established as a bit of a minor celebrity, a college football star who would have gone on to the NFL if he hadn’t injured his knee. Every time this show tries to convince me that Crockett has fooled everyone into thinking he’s Sonny Burnett, it just further convinces me that there’s no way Crockett and Tubbs should still be doing undercover assignments.

This episode was stylish but empty but, considering some of the other episodes that have aired during this season, at least it was entertaining.

Retro Television Review: Miami Vice 3.8 “Better Living Through Chemistry”

Posted on November 18, 2024 by Lisa Marie Bowman

This week, Tubbs’s cover is blown …. again.

Episode 3.8 “Better Living Through Chemistry”

(Dir by Leon Ichaso, originally aired on November 14th, 1986)

While working undercover as Ricardo Cooper (and yes, I’m pretty sure I heard the fake Caribbean accent at the start of this episode), Tubbs is stunned to discover that his former partner from New York, Clarence Batisse (Victor Love), is now working as a DJ at a club owned by a local drug lord.

Tubbs is even more shocked when Clarence announces to the entire club that “Ricardo Cooper” is actually an undercover cop.

Somehow, and it’s not really made clear how, Tubbs is able to escape the club without getting shot. Sonny also somehow manages to convince the drug dealers that he didn’t know that Tubbs was actually a cop. So, Sonny “Burnett” continues to play his part in the undercover operation while Tubbs tries to figure out why Clarence blew his cover.

Clarence is bitter. His career with the NYPD came crashing down when he shot a bookie during a raid. Clarence claimed the bookie had a gun but the gun was never found. Tubbs didn’t see the gun and refused to lie for his partner. However, when Tubbs realizes that Clarence has been reduce to working for a drug lord, he sets about to try to clear Clarence’s name.

Meanwhile, informant Izzy (Martin Ferrero) has been hired to babysit the drug lord’s chemist, nerdy Henry Luna (Nelson Villamor). Luna has developed cocaine that is so pure that most people can’t even survive doing one hit. The Vice squad know that, if the cocaine hits the streets, it will lead to a gang war. But then Luna does a hit of his own cocaine and falls over dead.

Tubbs does manage to clear Clarence’s name but it doesn’t matter. Clarence has gone so far over to the dark side that he sets up Tubbs and Crockett to be attacked in a surprise raid. Tubbs and Crockett kill the bad guys and, at the end of the episode, Tubbs takes Clarence into custody. A good cop has gone very bad….

This was a weird episode. It was technically a Tubbs episode but it seemed like the majority of the running time was taken up with Izzy babysitting the chemist. Izzy is one of those supporting characters who works best in small amounts. Building almost an entire episode around him just serves to highlight that there’s really not much depth to Izzy as a character. He’s cowardly and he talks a lot. It’s funny until it isn’t, which is another way of saying that it gets old after ten minutes. The comedy of Izzy and the Chermist didn’t really fit in with the scenes of Tubbs trying to clear his former partner’s name. The tone of the episode was all over the place, making this a rare Miami Vice episode that didn’t seem to know what it wanted to be.

On the plus side, the drug lord owned a club that was full of motorcycles and where Peter Gabriel’s Sledgehammer was the most popular song. There was one very exciting shoot-out at the club. That was a good thing. Otherwise, this was Miami Vice at its least effective.

Retro Television Review: Miami Vice 3.3 “Killshot”

Posted on October 14, 2024 by Lisa Marie Bowman

This week, another friend of Crockett’s is in trouble!

Episode 3.3 “Killshot”

(Dir by Leon Ichaso, originally aired on October 10th, 1986)

Crockett and Tubbs are working undercover as Burnett and Cooper to take down drug lord Morales (Roger Pretto). Morales is one of the most powerful drug lords in Miami but he’s still not connected enough to know that Burnett and Cooper are undercover cops. I know that I bring this up nearly every time I write about this show but it just baffles me that Crockett and Tubbs are somehow still able to maintain their covers despite the fact that those covers have gotten blown in numerous episodes and Crockett makes no effort to act any differently when he’s pretending to be Burnett. At least Tubbs uses his fake Jamaican accent whenever he’s pretending to be Cooper. Crockett doesn’t even bother to change his suit before pretending to be Burnett.

That said, they’ve somehow managed to keep Morales from discovering that they’re cops. So, Morales instead focuses on manipulating a customs agent, Frank Ariolla (Carlos Cestero). Frank’s brother, Tico (Fernando Allende) is an up-and-coming jai alai player. (That’s the sport, prominently featured in Miami Vice‘s opening credits, in which the players use a wicker to both catch and launch a ball.) However, Tico also has a raging cocaine problem. In fact, the drug often leaves him impotent. When a prostitute suggests that Tico might not be attracted tp women, Tico goes crazy and blacks out. When he wakes up, the prostitute appears to be dead and madam Isabel Batista (Maria Duval) says she’ll protect Tico for a price. Frank has to work as a double agent or Isabel and Morales will send a tape of Tico attacking the prostitute to the police.

(For the record, the prostitute was only pretending to be dead as a part of a plot to frame Tico. But then Isabel had her killed for real.)

Trying to protect his brother, Frank agrees to work for Morales. But when a guilt-stricken Tico makes a mistake during a match that leads to him getting killed when he’s stuck in the head by the ja alai ball, will Crockett and Tubbs be able to stop Frank from taking his own violent vengeance on both Morales and Isabel? As you probably already guessed, this is yet another Miami Vice episode the ends with a freeze frame and an off-screen gunshot as Crockett yells, “No!”

If there’s one thing that has stayed consistent over the first three seasons of Miami Vice, it’s that it does not pay to be a friend of Sonny’s. From Jimmy Smits getting blown up in the pilot to Ira Stone dying last week to Frank throwing his life away to avenge his brother in this week’s episode, anyone who has ever been close to Crockett seems to end up having terrible luck. I’m stunned that Tubbs has managed to survive for as long as he has.

As for this episode, Crockett and Tubbs both seemed to be sidelined in favor of the story of Frank and Tico. It’s always weird when Crockett and Tubbs become supporting characters on their own show. Carlos Cestero and Maria Duval both gave good performances, which is good because it helps to distract from the fact that Morales is a fairly dull villain and Tico is not a particularly compelling character. For the most part, this episode works best as a commercial for ja alai, which looks a hundred times more exciting than most sports. Certainly, its fast action and the constant danger of sudden death makes it the ideal sport for Miami.

Retro Television Review: Miami Vice 2.16 “Little Miss Dangerous”

Posted on June 17, 2024 by Lisa Marie Bowman

The power has returned, my mood is better, and my wrist has healed. It’s time to get back to the reviews!

Episode 2.16 “Little Miss Dangerous”

(Dir by Leon Ichaso, originally aired on January 31st, 1986)

There’s a serial killer stalking the red light district of Miami, haunting cheap motels, dark alleys, and neon-lit sex clubs. Men are turning up dead all over the place, brutally stabbed and then set on fire. Occasionally, a crude drawing is left behind. Castillo announces that every member of the Squad will be working a 12-hour shift until the killer is brought to justice. He says that they may be looking for a pimp or a prostitute who is looking for revenge.

Of course, every prostitute knows and likes Sonny Crockett. And again, this leads to the question of how exactly Sonny is able to work undercover when everyone in Miami knows who he is. For that matter, all of the prostitutes also seem to know that Gina and Trudy are working Vice as well, despite the fact that Gina and Trudy’s regular gig to go undercover as high-priced escorts. How do these people ever succeed at going undercover? Everyone knows them! I guess that’s to be expected, though, when you’ve only got 6 detectives working Vice in a city as big as Miami.

Tubbs meets a Jackie (played by singer Fiona), a young runaway who swears that she’s 18 and who says that she’s happy working as a prostitute because her body is just a commodity. Tubbs becomes obsessed with protecting the spacey but seemingly innocent Jackie, especially after he becomes convinced that Jackie’s pimp, Cat (Larry Joshua), is the murderer. Except, of course, Cat isn’t the killer. Jackie is! When Tubbs takes Jackie to a safehouse (which, of course, is also an art deco mansion), she snaps. As Crockett tries to break down the locked front door and Cat crashes into the house on his motorcycle, Jackie starts a fire and approaches Tubbs. But, instead of killing the only man who hasn’t tried to use her body, Jackie instead holds a gun to her head. This is another episode that ends with an off-screen gunshot. Interestingly, we never see Crockett actually get into the safehouse to rescue Tubbs from the fire. Instead, the ending is abrupt and the viewer, while having no doubt that Tubbs will escape the fire, knows that Tubbs will now carry Jackie’s scars as his own.

What an unsettling episode. This was Miami Vice at its most surreal and dream-like, with almost all of the action taking place at night and both Fiona and Larry Joshua giving edgy performances as two self-destructive people who live in the shadows of a wealthy American city. For once, the entire Vice Squad gets in on the action, though Tubbs is clearly the one at the center of the story. This episode reminds us that Tubbs is not quite as cynical and emotionally closed-off as Crockett but maybe, for the sake of his sanity, he should be. Little Miss Dangerous is a journey into the heart of Miami darkness.