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, Pembleton gets a confession.

Episode 2.3 “Black and Blue”

(Dir by Chris Menaul, originally aired on January 20th, 1994)

In this week’s episode, Pembleton manipulates a man into confessing to a murder that he didn’t commit.  Pembleton does it with the full knowledge that the man is innocent and that, if the man is indicted and goes to trial, he will undoubtedly be found guilty as a result of that coerced confession.  Pembleton does it to prove a point to Giardello.

The man is Lane Staley (Isaiah Washington), who has been identified (by his grandmother, who was just trying to be helpful) as an eyewitness to the shooting of Charles Courtland Cox.  Pembleton is convinced that Cox was shot by a policeman and he only wants to interrogate Staley as a witness.  Giardello, who feels that Pembleton is to obsessed with his cop theory and who, as a proud member of the police force, does not want Pembleton to be right, insists that Pembleton treat Staley as a suspect.  Pembleton responds by going into the Box and pretending to be sympathetic to Staley’s situation.  He and Staley talk about how they’re both expected to always be polite and careful about what they say around white detectives.  Pembleton jokes that he always has to be extra polite when he comes to work.

Staley starts to open up to Pembleton and eventually admits that he was present when Cox was shot.  That’s when Pembleton starts shouting at Staley, accusing him of being responsible and basically browbeating Staley until Staley is in tears.  Pembleton makes Staley feel guilty for not doing more to protect Cox and continues to yell at him until, eventually, Staley feels that Cox’s murder was his fault.  Staley finally signs a confession, even though it’s obvious that the sobbing man is not a murderer.  Pembleton hands Giardello the confession and reminds him that’s the way that the police have been getting confessions out of young black suspects for years.

It’s a powerful moment and one that took me totally by surprise.  Andre Braugher and Yaphet Kotto both gave excellent performances in this episode.  The dynamic between Pembleton and Giardello has always been one of the more interesting parts of the show.  The fact that both of them are black and both of them are portrayed as being fully aware of the racism surrounding them brings an extra edge to their debate as to whether or not the black Cox was shot by a white policeman. (At one point, Giardello snaps at Pembleton to speak to him as respectfully as he speaks to the white lieutenants and it’s the exact type of moment that most shows would never have the courage or insight to portray.)  Pembleton is a great detective because he’s laser-focused on getting a confession, to the exclusion of worrying about anything else.  Giardello is a great lieutenant because he’s enough of a pragmatist to understand that some battles are not worth the price of victory.  In the end, Giardello comes to realize that Pembleton is right about the shooting but one still has to wonder what would have happened in Giardello hadn’t torn up Staley’s confession.  The murder of Cox would have disappeared from the headlines but the innocent Staley would have disappeared into the system.

The scenes with Pembleton and Staley were so electrifying that it made up for the fact that this is yet another episode that features Bolander feeling sorry for himself after his divorce.  Fortunately, for Bolander, he meets and befriends a young waitress named Linda (Julianne Margulies) who mentions that she plays the violin.  Bolander reveals that he plays the cello — WHAT!?  Since when has Bolander, someone who has expressed no interest in art or creativity or even music during his entire time of the show, become a cello player?  The episode ends with Bolander and Linda playing their instruments together and it’s a sweet scene but it’s still a bit hard to buy that apparently every woman in Baltimore is instantly attracted to a middle-aged, balding cop who spends all of his time talking about his divorce.  Ned Beatty was one of the great character actors but it sometimes feels like Homicide wasn’t sure what to do with his character.

But, hey, maybe Bolander will finally stop being so whiny.  That’s my hope.  This episode found Munch breaking up with his girlfriend after he accidentally gave her a carnivorous fish that ate all of her other fish.  At one point, Munch says that he can’t accept the idea of Bolander being happier than him.  Seriously, Munch, don’t jinx this.  I’ve been listening to Bolander complain nonstop for 15 episodes.  If he’s happy now, let him have it!

Next week …. life on the street continues!