Television Review: Law & Disorder (Homicide: Life on the Street, S3X15, 1995)

Law & Disorder (S03E15)

Airdate: 24 February 1995

Written by: Rogers Turrentine
Directed by: Lee Bonner

Running Time: 47 minutes

Television series often transcend their original narratives, becoming part of a broader fictional universe that can expand in unexpected ways. This phenomenon can occur through a single cameo appearance or fan service rather than a meticulously planned spinoff or sequel. Homicide: Life on the Street exemplifies this, particularly through the character of John Munch, who connects various shows within the television landscape. However, it is noteworthy that the inaugural crossover in Homicide did not feature Munch; instead, it was marked by a guest appearance from Chris Noth, known for his role in another series. This moment occurred during Season 3 in the episode titled Law & Disorder.

As title suggests, Law & Disorder features a crossover with Law & Order, where Chris Noth appears as NYPD Detective Mike Logan. The cold open unfolds at a Baltimore railway station, where Logan is tasked with handing over a suspected murderer, R. Vincent Smith. This character is portrayed by the acclaimed director and Baltimore native John Waters, who had previously made an appearance in the series as a bartender. The scene sets the stage for an engaging dialogue between Logan and Detective Frank Pembleton, who debates the merits of New York City versus Baltimore.

Despite its intriguing start, the cold open does not significantly influence the episode's main plot, which continues a three-episode arc revolving around the shooting of three Homicide Unit detectives. The suspected shooter, Gordon Pratt, is found dead shortly after leaving police custody, prompting an investigation led by Detective Bayliss. He faces the daunting task of interrogating his fellow detectives, who are not only potential suspects but also deeply resentful of his inquiries. The atmosphere is charged with hostility as Bayliss grapples with his colleagues' unwillingness to cooperate. Pembleton articulates a prevailing sentiment among the detectives when he suggests that whoever killed Pratt may have done taxpayers a service. Although Munch emerges as the prime suspect due to his dubious alibi, Bayliss struggles to gather sufficient evidence to implicate him, leaving the case seemingly destined for unresolved status.

In parallel to this investigation, Pembleton and Lewis take on another case involving a woman shot dead on a street corner. The victim is white, and initial evidence suggests that the bullet came from a nearby violence-ridden black neighbourhood. This line of inquiry raises ethical concerns for Lewis, who perceives it as racially biased. Pembleton, however, relies on statistical data to guide his assumptions. Their investigation leads them to identify the calibre and model of the murder weapon, prompting them to canvass local residents for legal gun owners. This search leads them to a black woman who confesses that her boyfriend killed someone out of jealousy; however, this leads nowhere as it pertains to their case. Ultimately, they find that the shot was accidentally fired by a young white girl playing with her father's gun—a twist that underscores both the tragedy and absurdity often present in urban crime narratives.

Meanwhile, Detective Felton has returned from hospitalisation and insists he is fit to resume his duties. Despite reservations from Russert and doctors regarding his psychological recovery, Felton is allowed back on duty. His first assignment alongside Giardello exposes him to traumatic scenes that trigger his post-traumatic stress disorder (PTSD). Felton's reaction to seeing a corpse reveals his vulnerability—a stark contrast to his previous self—and leads to tension with Giardello when he expresses frustration over his condition. Giardello's harsh reprimand highlights Felton's long-standing issues with alcohol and questions about his suitability for Homicide Unit work.

Contrastingly, Munch faces an entirely different dilemma that provides comic relief amidst the episode's serious undertones. He discovers that an art gallery nearby features a nude photograph of him taken decades earlier by his former girlfriend Brigitte Svendsen. The photograph becomes part of her exhibition as an act of retribution against him. Munch's discomfort culminates in Brigitte covering the photograph's private parts with paper—an amusing yet poignant moment that encapsulates Munch’s complex character.

Despite its somewhat gimmicky beginning and not quite reaching the high standards set by previous episode, Law & Disorder remains a compelling installment within Homicide: Life on the Street. It successfully weaves together various narrative threads into a coherent whole while maintaining all the elements that made the series exceptional—strong performances from its cast, sharp writing that reflects real-life law enforcement challenges, and an adept use of irony throughout its storytelling.

RATING: 7/10 (+++)

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