Battle of the 80's Crimefighters, Round Three
A battle that began with 42 crimefighter series from the 1980's only two weeks ago has only 11 shows left in round three. After this round, the field will be reduced to only six shows. Let's see which six will make the cut.
Magnum, P.I. gets by lucky and draws a bye this round.
Remington Steele vs. MacGyver
Two shows without much in common on the surface, aside from being crimefighter shows, both have the dubious distinctions of never quite reaching "hit series" status during their original runs. Remington Steele came closer to meeting the "hit" threshold, but limped its way through its first season scheduled on Friday nights on NBC in the fall of 1982. However, Remington Steele did just well enough to survive the entire season and by season's end had landed the plum Tuesday night slot following The A-Team. The first season of RS was clever enough, but the series really hit its stride in the second season where ratings improved but didn't quite live up to expectations. The series rose into the top-25 for the first and only time by season three, before NBC's entire Tuesday night action show lineup fell apart in the 1985-86 season, which was Remington Steele's fourth season. The ratings didn't plunge into the sort of abyss that The Fall Guy's did that season, but were weary enough to warrant a move to Saturday night late in February 1986 that officially finished the show off, even though the series hadn't suffered noticeably in quality. Star Pierce Brosnan was fine with Remington Steele's demise given that he was poised to be the next James Bond, but with all the hoopla regarding Brosnan playing Bond, NBC decided to resurrect RS for a limited fifth season as it had contracted for in the summer of 1985. The six hour final season was uninspired and you could almost see the anger in Brosnan's eyes having lost (at least temporarily) a career role to be yanked into this limited commitment.
By contrast, MacGyver debuted on third-place ABC on Sunday nights in the fall of 1985, a time slot in which everybody wrote the series off given the brutal competition of then top-five Murder, She Wrote on CBS and 1985's most hyped new series, Steven Spielberg's Amazing Stories on NBC. A candidate for early cancellation, MacGyver surprised everybody by finding a moderate audience and fighting a strong battle for second place with NBC in the slot. ABC thought MacGyver really had the opportunity to find an audience on Wednesday nights in early 1986, and quickly found one, regularly settling into the top-20 in the spring and summer of 1986. However, the series was moved once again to Monday nights in the fall of 1986, where it would perennially flounder amidst tough sitcom competition on CBS and NBC, as well as being shown late in the evening in the Pacific time zone during Monday Night Football season. The consequence was MacGyver never getting much of an opportunity to grow beyond its core audience, loyal as it was, and seven seasons worth of middling ratings. When ratings finally did take a nosedive by season seven in 1991-92, the audience response was such that the network also ordered a series of MacGyver made-for-TV movies as well.
Similarities aside, there's no doubt in my mind that MacGyver was the better series. Remington Steele's plotlines generally blended in with other action shows of the day, separating itself from the pack through its characters and their chemistry. MacGyver always had memorable and well-crafted stories in addition to the distinctiveness of the jerry-rigged escapist fare. MacGyver edged out the future Bond in production values as well with its ambitious stuntwork and elaborate settings. Beyond that, MacGyver managed nearly three more years and 50 more episodes than Remington Steele, and will continue on in syndication that much longer because of it.
Round Two goes to MacGyver.
Sledge Hammer! vs. Hardcastle and McCormick
The only comparison I can make between these Sledge Hammer! and Hardcastle and McCormick, aside from the fact that were both on ABC during a period of decline for that network, is that I never saw an episode of either one in my adult life up until Christmas 2006, when I received the first season of Sledge Hammer! on DVD as a gift. As recently as this upcoming summer, I plan to purchase the Canadian-only DVD releases of Hardcastle and McCormick, giving me the first opportunity to see that series since the summer of 1989, when my local TV station dropped syndication rights to H & M. It's pretty hard to stand in judgment of shows I haven't watched since my pre-teen years, but I'm confident that Hardcastle and McCormick will hold up better than most of the action-centric shows its time given the chemistry of the characters and the entertainment value that Brian Keith brings to every role that I've seen him in.
As for Sledge Hammer!, it held up very well....and the adult humor that sailed over my head when I was nine cracked me up watching the DVD set in January and February. The series was one-of-a-kind and even though its premise probably didn't lend itself to mainstream audience acclaim back in 1986, it's still sad that it was forced to flounder in one after another timeslot set in quicksand during its two years on ABC. Ultimately, longevity plays into my decision here. Hardcastle and McCormick was still going strong after three seasons (at least in my memory, season three was the series' best quality-wise), whereas the joke on Sledge Hammer! was wearing seriously thin in the second season. Even the show's biggest fans were disappointed by the second season, particularly the later episodes of season two. A fourth season of Hardcastle and McCormick could have almost certainly been an entertainment encore act, whereas nobody really thought Sledge Hammer! had enough gas for a third season. I harbor a long-standing nostalgic soft spot for both series and would probably be better positioned to make a call on this faceoff six months from now when I've seen the first two seasons of Hardcastle and McCormick on DVD, but I'm pretty confident that I'll still find that serious ultimately superior to Sledge Hammer!
Round Three goes to Hardcastle and McCormick
The Equalizer vs. The Fall Guy
Back in my early elementary years, The Fall Guy was my favorite show. While I didn't get in on the show at the very beginning, having just turned four when it premiered, I can distinctly remember some of the storylines from the second season looking back at The Fall Guy's episode guide, and have a vague recollection of just about all of the episodes from the third, fourth, and fifth seasons. A dozen or so Fall Guy episodes I even managed to watch back in the mid-1990's when the FX cable network reran the series, but 90% of the show's 100+ episodes will be a new experience for me when the first season finally comes out on DVD this June (hopefully followed by subsequent seasons). I'd be lying if I said I wasn't a little nervous, as my sampling of the series as a young adult have been mixed. The cleverness of the stunts and the masterfully choreographed chase scenes still impress, but the hammy acting and cornball humor sprinkled so liberally through many of the episodes is as cringeworthy as anything from The Dukes of Hazzard or Knight Rider.
By comparison, The Equalizer was a new experience for me as a young adult. It was on too late and was too violent and intense for me as an elementary-age boy, so I had to wait until A&E reran the series on cable in the mid-to-late 1990's before I took it in. As stated before, the episodes were hit-or-miss, but its batting average was pretty good, and I await future DVD releases so I can relive the best episodes and catch up on the couple dozen or so that I never did see. Although the series was never a big hit and really only had one season (its second) where the ratings even warranted a surefire renewal, it's the kind of show that has earned more respect after its four-year tenure on CBS than it did when it aired originally.
The memories of one's childhood have alot of pull in so many aspects of life, and the jubilation one associates with the media, be it TV, music, of film, from their youth greatly influences their long-term tastes and perhaps deludes their rational analysis of how good that TV, music, or film really was. Many episodes of The Equalizer were much better done than the best episodes of The Fall Guy, but my personal experience with the latter series was more enriching than my personal experience with the former. Again, if the DVD viewings of The Fall Guy prove to be a letdown, I may end up amending this decision, but for now I have to go with my gut and satisfy the screaming kindergartner inside of me and choose The Fall Guy to move on to the next round.
Round Four goes to The Fall Guy.
The A-Team vs. Miami Vice
Two more series on opposite ends of the crimefighter show spectrum stylistically, it's still interesting how much in common The A-Team and Miami Vice have when stacked up side by side. Both of these series were born out of generic brainfarts from then NBC programming executive Brandon Tartikoff, both were unexpected hits that helped elevate a basement-dwelling network to the top of the Nielsen heap in their mid-1980's prime, both became too dependent on "special guest stars" to maintain their creative edge, and both only managed five seasons despite being on top of the world in their heyday.
After two wildly enjoyable seasons, The A-Team rested on its laurels in season three, churning out 25 episodes as if off an assembly line and stretching two lower-tier staff writers past their creative limit. While The A-Team still finished in the top-10 in its third season, the momentum was waning and viewers were quickly growing bored by the uninspired routine that became just a little too familiar by the spring and summer of 1985, a time in which the egos of stars George Peppard and Mr. T were creating a toxic work environment and ultimately causing production delays. Creators Frank Lupo and Stephen J. Cannell detected the problem and got on top of it in season four, restoring creative control and tweaking the formula with more character-driven stories and, unfortunately, distracting guest appearances by the likes of Rick James, Boy George, Vanna White, and Hulk Hogan that reinforced in many minds that the series had jumped the shark. Ratings had declined so badly by the spring of 1986 that NBC's only real reason for ordering a shortened fifth season was to help The A-Team nudge closer to the golden 100-episode mark that ensures a richer syndication deal. The fifth season brought new cast members and a wholesale change in formula in which the team was captured and forced to work for the very government that it had been on the run from in the previous four seasons. While hard-core fans didn't like these episodes much, I thought it was a welcome change to the formula and compliment Cannell for thinking outside the box. The series finished with 98 episodes, two short of the goal, but left a thumbprint on pop culture far more noticeable than any number of shows from the era that lasted much longer. There's a reason why all seven seasons of Trapper John, M.D. are not on DVD yet.
Miami Vice took a handful of episodes to hit its stride, but would go on to churn out a stunning set of episodes in its first season that forced audiences to take notice even in its low-profile Friday night slot up against CBS's established top-10 soap Falcon Crest. Regrettably, Miami Vice would never live up to the potential of that first season again as the next four seasons were plagued by a seemingly unending series of strategic gaffes by either the showrunners or NBC. Season two was Miami Vice's highest-rated season (it's only season in the top-10), but the stories were hit-or-miss and often seemed pasted together to accommodate kitschy guest appearances ranging from Gene Simmons (yes, THAT Gene Simmons from KISS), Phil Collins, Frank Zappa, and Ted Nugent. Whether these rockers could effectively act their way through their roles as drug-dealing hooligans seemed irrelevant to producers as it helped distract viewers from all-too-frequently incoherent scripts. Season three was thematically and stylistically darker, and generally a noticeable improvement from season two. Unfortunately, it was NBC who got cocky this season, moving Miami Vice up an hour to faceoff against CBS's veteran show killer Dallas. NBC was certain that MV could topple the aging CBS soap, but they were wrong, as Vice fell from #9 to #23 in the ratings between seasons two and three. The erosion of audience was just getting started as writers and producers completely botched season four, attempting to lighten the mood with stories that attempted to be quirky and different but ended up just being goofy. Viewers don't tune into Miami Vice for stories about feuding televangelists, alien abductions, cryogenic reggae singers, and missing bottles of bull semen (no joke!). The introduction of Sheena Easton as Crockett's new bride also fell flat. After a stunned audience response and a continued ratings plunge, Miami Vice briefly revived itself late in the fourth season with one of the series most memorable story arcs (Crockett assumes the identity of his thuggish alter ego Sonny Burnett and goes on a monthslong crime spree) that extended into the fifth season. The final season had some decent episodes, but composer Jan Hammer was replaced and the musical tone of the series changed. Furthermore, the 1988-89 season was delayed because of the writers' strike, meaning Miami Vice had to produce a number of Crockett-only and Tubbs-only episodes to meet their 22-episode order for the season. For most, Crockett and Tubbs were only entertaining together. The series ended with a major whimper, burning off its "lost episodes" in the summer of 1989 a shadow of the top-10 hit it was only three years earlier.
Looking back at these series, it's really hard for me to choose a favorite. Both series were wildly entertaining in their prime, but grew weary long before they should have. The carelessness and arrogance with which their handlers proceeded with the two series undermined the skillful production values employed by both. Even in terms of legacy, there is no clear victor here, as both The A-Team and Miami Vice forever raised the bar for adventure series and crime dramas, respectively, in both content and style. Ultimately, my choice goes to the series that was best at the top of its game. The A-Team never rose above "popcorn show" entertainment value, generally telling the same story every week for five years. Miami Vice ventured into unpredictable terrain and often misfired, but nonetheless managed some unforgettable hours of television when on target, with layer upon layer of cleverly crafted chess matches played out between the vice cops and their city's seedy underbelly. For that reason, I'll give a narrow victory to Miami Vice.
Round Five goes to Miami Vice.
Wiseguy vs. Crime Story
A fitting faceoff between two of the coolest crime dramas of the late 1980's, both with a dark and ominous tone related to the heavy-handed organized crime presence that stood as the series antagonists. Both series failed to find their audiences despite universal critical acclaim, but managed two and three seasons, respectively, that impressed a small following of fans enough to keep the series alive on cable reruns on and off in the years since. I didn't have access to cable back when A&E was rerunning Crime Story, but still caught several episodes and found myself just as impressed with the flawless and dark production values, and the wry cat-and-mouse between Torello and Luca that ensued week-to-week, as I was as not-quite-ready-to-absorb-material-this intense nine-year-old when the series first aired. DVD releases for both seasons of Crime Story are now available and I intend to purchase both of them within the next year.
I was a couple of years older when Wiseguy was on and got to enjoy the majority of that series' run both on CBS and on cable (WGN I think) in the late 1990s. If both series' brilliant first seasons had been their last, it would be a complete draw. However, they both had additional seasons that didn't quite live up to earlier seasons in terms of storytelling, so in this case the series with the longest tenure suffers for it. And while Wiseguy's production values were impressive, they couldn't stand up to Michael Mann's work on Crime Story where the early 1960's Chicago and Las Vegas settings was consistently feature-film quality and, if anything, exceeded the flashier visuals he produced on Miami Vice. It's tough sending either of these great shows to their demise, but only one is able to stay, and that one has to be Crime Story.
Round Six goes to Crime Story.
I'm looking forward to reading thoughts on this round. Hopefully by next week at this time, Round Four of the battle will narrow the field down to only three shows. The faceoffs in round four include:
Magnum, P.I. vs. MacGyver
Hardcastle and McCormick vs. The Fall Guy
Miami Vice vs. Crime Story
Magnum, P.I. gets by lucky and draws a bye this round.
Remington Steele vs. MacGyver
Two shows without much in common on the surface, aside from being crimefighter shows, both have the dubious distinctions of never quite reaching "hit series" status during their original runs. Remington Steele came closer to meeting the "hit" threshold, but limped its way through its first season scheduled on Friday nights on NBC in the fall of 1982. However, Remington Steele did just well enough to survive the entire season and by season's end had landed the plum Tuesday night slot following The A-Team. The first season of RS was clever enough, but the series really hit its stride in the second season where ratings improved but didn't quite live up to expectations. The series rose into the top-25 for the first and only time by season three, before NBC's entire Tuesday night action show lineup fell apart in the 1985-86 season, which was Remington Steele's fourth season. The ratings didn't plunge into the sort of abyss that The Fall Guy's did that season, but were weary enough to warrant a move to Saturday night late in February 1986 that officially finished the show off, even though the series hadn't suffered noticeably in quality. Star Pierce Brosnan was fine with Remington Steele's demise given that he was poised to be the next James Bond, but with all the hoopla regarding Brosnan playing Bond, NBC decided to resurrect RS for a limited fifth season as it had contracted for in the summer of 1985. The six hour final season was uninspired and you could almost see the anger in Brosnan's eyes having lost (at least temporarily) a career role to be yanked into this limited commitment.
By contrast, MacGyver debuted on third-place ABC on Sunday nights in the fall of 1985, a time slot in which everybody wrote the series off given the brutal competition of then top-five Murder, She Wrote on CBS and 1985's most hyped new series, Steven Spielberg's Amazing Stories on NBC. A candidate for early cancellation, MacGyver surprised everybody by finding a moderate audience and fighting a strong battle for second place with NBC in the slot. ABC thought MacGyver really had the opportunity to find an audience on Wednesday nights in early 1986, and quickly found one, regularly settling into the top-20 in the spring and summer of 1986. However, the series was moved once again to Monday nights in the fall of 1986, where it would perennially flounder amidst tough sitcom competition on CBS and NBC, as well as being shown late in the evening in the Pacific time zone during Monday Night Football season. The consequence was MacGyver never getting much of an opportunity to grow beyond its core audience, loyal as it was, and seven seasons worth of middling ratings. When ratings finally did take a nosedive by season seven in 1991-92, the audience response was such that the network also ordered a series of MacGyver made-for-TV movies as well.
Similarities aside, there's no doubt in my mind that MacGyver was the better series. Remington Steele's plotlines generally blended in with other action shows of the day, separating itself from the pack through its characters and their chemistry. MacGyver always had memorable and well-crafted stories in addition to the distinctiveness of the jerry-rigged escapist fare. MacGyver edged out the future Bond in production values as well with its ambitious stuntwork and elaborate settings. Beyond that, MacGyver managed nearly three more years and 50 more episodes than Remington Steele, and will continue on in syndication that much longer because of it.
Round Two goes to MacGyver.
Sledge Hammer! vs. Hardcastle and McCormick
The only comparison I can make between these Sledge Hammer! and Hardcastle and McCormick, aside from the fact that were both on ABC during a period of decline for that network, is that I never saw an episode of either one in my adult life up until Christmas 2006, when I received the first season of Sledge Hammer! on DVD as a gift. As recently as this upcoming summer, I plan to purchase the Canadian-only DVD releases of Hardcastle and McCormick, giving me the first opportunity to see that series since the summer of 1989, when my local TV station dropped syndication rights to H & M. It's pretty hard to stand in judgment of shows I haven't watched since my pre-teen years, but I'm confident that Hardcastle and McCormick will hold up better than most of the action-centric shows its time given the chemistry of the characters and the entertainment value that Brian Keith brings to every role that I've seen him in.
As for Sledge Hammer!, it held up very well....and the adult humor that sailed over my head when I was nine cracked me up watching the DVD set in January and February. The series was one-of-a-kind and even though its premise probably didn't lend itself to mainstream audience acclaim back in 1986, it's still sad that it was forced to flounder in one after another timeslot set in quicksand during its two years on ABC. Ultimately, longevity plays into my decision here. Hardcastle and McCormick was still going strong after three seasons (at least in my memory, season three was the series' best quality-wise), whereas the joke on Sledge Hammer! was wearing seriously thin in the second season. Even the show's biggest fans were disappointed by the second season, particularly the later episodes of season two. A fourth season of Hardcastle and McCormick could have almost certainly been an entertainment encore act, whereas nobody really thought Sledge Hammer! had enough gas for a third season. I harbor a long-standing nostalgic soft spot for both series and would probably be better positioned to make a call on this faceoff six months from now when I've seen the first two seasons of Hardcastle and McCormick on DVD, but I'm pretty confident that I'll still find that serious ultimately superior to Sledge Hammer!
Round Three goes to Hardcastle and McCormick
The Equalizer vs. The Fall Guy
Back in my early elementary years, The Fall Guy was my favorite show. While I didn't get in on the show at the very beginning, having just turned four when it premiered, I can distinctly remember some of the storylines from the second season looking back at The Fall Guy's episode guide, and have a vague recollection of just about all of the episodes from the third, fourth, and fifth seasons. A dozen or so Fall Guy episodes I even managed to watch back in the mid-1990's when the FX cable network reran the series, but 90% of the show's 100+ episodes will be a new experience for me when the first season finally comes out on DVD this June (hopefully followed by subsequent seasons). I'd be lying if I said I wasn't a little nervous, as my sampling of the series as a young adult have been mixed. The cleverness of the stunts and the masterfully choreographed chase scenes still impress, but the hammy acting and cornball humor sprinkled so liberally through many of the episodes is as cringeworthy as anything from The Dukes of Hazzard or Knight Rider.
By comparison, The Equalizer was a new experience for me as a young adult. It was on too late and was too violent and intense for me as an elementary-age boy, so I had to wait until A&E reran the series on cable in the mid-to-late 1990's before I took it in. As stated before, the episodes were hit-or-miss, but its batting average was pretty good, and I await future DVD releases so I can relive the best episodes and catch up on the couple dozen or so that I never did see. Although the series was never a big hit and really only had one season (its second) where the ratings even warranted a surefire renewal, it's the kind of show that has earned more respect after its four-year tenure on CBS than it did when it aired originally.
The memories of one's childhood have alot of pull in so many aspects of life, and the jubilation one associates with the media, be it TV, music, of film, from their youth greatly influences their long-term tastes and perhaps deludes their rational analysis of how good that TV, music, or film really was. Many episodes of The Equalizer were much better done than the best episodes of The Fall Guy, but my personal experience with the latter series was more enriching than my personal experience with the former. Again, if the DVD viewings of The Fall Guy prove to be a letdown, I may end up amending this decision, but for now I have to go with my gut and satisfy the screaming kindergartner inside of me and choose The Fall Guy to move on to the next round.
Round Four goes to The Fall Guy.
The A-Team vs. Miami Vice
Two more series on opposite ends of the crimefighter show spectrum stylistically, it's still interesting how much in common The A-Team and Miami Vice have when stacked up side by side. Both of these series were born out of generic brainfarts from then NBC programming executive Brandon Tartikoff, both were unexpected hits that helped elevate a basement-dwelling network to the top of the Nielsen heap in their mid-1980's prime, both became too dependent on "special guest stars" to maintain their creative edge, and both only managed five seasons despite being on top of the world in their heyday.
After two wildly enjoyable seasons, The A-Team rested on its laurels in season three, churning out 25 episodes as if off an assembly line and stretching two lower-tier staff writers past their creative limit. While The A-Team still finished in the top-10 in its third season, the momentum was waning and viewers were quickly growing bored by the uninspired routine that became just a little too familiar by the spring and summer of 1985, a time in which the egos of stars George Peppard and Mr. T were creating a toxic work environment and ultimately causing production delays. Creators Frank Lupo and Stephen J. Cannell detected the problem and got on top of it in season four, restoring creative control and tweaking the formula with more character-driven stories and, unfortunately, distracting guest appearances by the likes of Rick James, Boy George, Vanna White, and Hulk Hogan that reinforced in many minds that the series had jumped the shark. Ratings had declined so badly by the spring of 1986 that NBC's only real reason for ordering a shortened fifth season was to help The A-Team nudge closer to the golden 100-episode mark that ensures a richer syndication deal. The fifth season brought new cast members and a wholesale change in formula in which the team was captured and forced to work for the very government that it had been on the run from in the previous four seasons. While hard-core fans didn't like these episodes much, I thought it was a welcome change to the formula and compliment Cannell for thinking outside the box. The series finished with 98 episodes, two short of the goal, but left a thumbprint on pop culture far more noticeable than any number of shows from the era that lasted much longer. There's a reason why all seven seasons of Trapper John, M.D. are not on DVD yet.
Miami Vice took a handful of episodes to hit its stride, but would go on to churn out a stunning set of episodes in its first season that forced audiences to take notice even in its low-profile Friday night slot up against CBS's established top-10 soap Falcon Crest. Regrettably, Miami Vice would never live up to the potential of that first season again as the next four seasons were plagued by a seemingly unending series of strategic gaffes by either the showrunners or NBC. Season two was Miami Vice's highest-rated season (it's only season in the top-10), but the stories were hit-or-miss and often seemed pasted together to accommodate kitschy guest appearances ranging from Gene Simmons (yes, THAT Gene Simmons from KISS), Phil Collins, Frank Zappa, and Ted Nugent. Whether these rockers could effectively act their way through their roles as drug-dealing hooligans seemed irrelevant to producers as it helped distract viewers from all-too-frequently incoherent scripts. Season three was thematically and stylistically darker, and generally a noticeable improvement from season two. Unfortunately, it was NBC who got cocky this season, moving Miami Vice up an hour to faceoff against CBS's veteran show killer Dallas. NBC was certain that MV could topple the aging CBS soap, but they were wrong, as Vice fell from #9 to #23 in the ratings between seasons two and three. The erosion of audience was just getting started as writers and producers completely botched season four, attempting to lighten the mood with stories that attempted to be quirky and different but ended up just being goofy. Viewers don't tune into Miami Vice for stories about feuding televangelists, alien abductions, cryogenic reggae singers, and missing bottles of bull semen (no joke!). The introduction of Sheena Easton as Crockett's new bride also fell flat. After a stunned audience response and a continued ratings plunge, Miami Vice briefly revived itself late in the fourth season with one of the series most memorable story arcs (Crockett assumes the identity of his thuggish alter ego Sonny Burnett and goes on a monthslong crime spree) that extended into the fifth season. The final season had some decent episodes, but composer Jan Hammer was replaced and the musical tone of the series changed. Furthermore, the 1988-89 season was delayed because of the writers' strike, meaning Miami Vice had to produce a number of Crockett-only and Tubbs-only episodes to meet their 22-episode order for the season. For most, Crockett and Tubbs were only entertaining together. The series ended with a major whimper, burning off its "lost episodes" in the summer of 1989 a shadow of the top-10 hit it was only three years earlier.
Looking back at these series, it's really hard for me to choose a favorite. Both series were wildly entertaining in their prime, but grew weary long before they should have. The carelessness and arrogance with which their handlers proceeded with the two series undermined the skillful production values employed by both. Even in terms of legacy, there is no clear victor here, as both The A-Team and Miami Vice forever raised the bar for adventure series and crime dramas, respectively, in both content and style. Ultimately, my choice goes to the series that was best at the top of its game. The A-Team never rose above "popcorn show" entertainment value, generally telling the same story every week for five years. Miami Vice ventured into unpredictable terrain and often misfired, but nonetheless managed some unforgettable hours of television when on target, with layer upon layer of cleverly crafted chess matches played out between the vice cops and their city's seedy underbelly. For that reason, I'll give a narrow victory to Miami Vice.
Round Five goes to Miami Vice.
Wiseguy vs. Crime Story
A fitting faceoff between two of the coolest crime dramas of the late 1980's, both with a dark and ominous tone related to the heavy-handed organized crime presence that stood as the series antagonists. Both series failed to find their audiences despite universal critical acclaim, but managed two and three seasons, respectively, that impressed a small following of fans enough to keep the series alive on cable reruns on and off in the years since. I didn't have access to cable back when A&E was rerunning Crime Story, but still caught several episodes and found myself just as impressed with the flawless and dark production values, and the wry cat-and-mouse between Torello and Luca that ensued week-to-week, as I was as not-quite-ready-to-absorb-material-this intense nine-year-old when the series first aired. DVD releases for both seasons of Crime Story are now available and I intend to purchase both of them within the next year.
I was a couple of years older when Wiseguy was on and got to enjoy the majority of that series' run both on CBS and on cable (WGN I think) in the late 1990s. If both series' brilliant first seasons had been their last, it would be a complete draw. However, they both had additional seasons that didn't quite live up to earlier seasons in terms of storytelling, so in this case the series with the longest tenure suffers for it. And while Wiseguy's production values were impressive, they couldn't stand up to Michael Mann's work on Crime Story where the early 1960's Chicago and Las Vegas settings was consistently feature-film quality and, if anything, exceeded the flashier visuals he produced on Miami Vice. It's tough sending either of these great shows to their demise, but only one is able to stay, and that one has to be Crime Story.
Round Six goes to Crime Story.
I'm looking forward to reading thoughts on this round. Hopefully by next week at this time, Round Four of the battle will narrow the field down to only three shows. The faceoffs in round four include:
Magnum, P.I. vs. MacGyver
Hardcastle and McCormick vs. The Fall Guy
Miami Vice vs. Crime Story
posted by Mark at 5:20 PM
3 Comments:
Oh man! I can't believe that Wiseguy lost to Crime Story....say it ain't so!
Sorry you were disappointed with the outcome of that contest. I love both shows, so if it's any comfort, it wasn't a slam-dunk.
Well, I have to say that I was also sad to see Wiseguy had fallen by the wayside, since I think it was one of the best Cannell productions ever. (at least the first couple of story arcs)
But, more important, I was thrilled to see that Hardcastle and McCormick continues to best its competition. Because while the show may've had some admittedly weak moments, what it always had was the wonderful chemistry between its co-stars, and that's what allowed H&M to rise above the material when necessary. And, oh, when the material was strong, that's when these guys could really shine. Let's keep them rolling on through the next round!
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