![]() There were many episodes I really liked besides those he mentioned and those I've mentioned, granted his opinion is somewhat agreeabl whjen it comes to Season 2. It's good to see IMDB users such as yarborough sticking up for Season 3, though I think his assessment of the series overall was pretty harsh. No, it wasn't QUITE the same, but that was the idea of MV. ![]() I got a bit fed up with so many people bitching that MV was no good in the 3rd season just because it got darker and more depressing. Thus, a legend was born, along with a working relationship and a friendship. And the year is 2011! LOL Don Johnson plays Detective Sony Crockett, a troubled cop who one day meets up with Rico Tubbs, a New York police detective who comes to Miami to avenge the death of his brother. This how had a distinct visual style and distinct lingo, which I still use today (esp. Hell, it might not be what you remembered every episode, given the amount of fluff, but this is guilty-pleasure television at its best and the purest window into the Eighties that exists.I don't care what the Don Johnson detractors think, this show is still distinct to this day! I'm glad it won Emmys without pretending to be Masterpiece Theater. Michael Talbott and John Diehl might get the odd opportunity to blossom beyond background characters (including the poor decision to give them their own filler episode), but your average viewer will be more concerned with the huge list of pre-fame cameos Jimmy Smits, Mykelti Williamson, Dean Stockwell, Dennis Farina, Bruce Willis, Burt Young, Pam Grier, John Turturro, Joe Morton, and so on. In the lead roles, the ridiculously-handsome Johnson balances some cheesy lines with being the coolest guy ever (as well as calling everyone "pal"), walking designer-label Thomas oozes wet-perm intensity and the brooding Olmos is a scene-stealer extraordinaire, boasting an incredible intesity. As for the influential fashions, the show practically invented Italo-casual wear, such as T-shirts under suit jackets, slip-on loafers and designer stubble (an electric razor was even released in '86 called The Miami Device). Design-wise, we see art deco locations, pastel colours and a stylistic agenda. Musically, we get Jan Hammer's synthesized score and countless montages accompanied by Eighties pop hits (such as Foreigner’s I Want To Know What Love Is playing over a moving death). What it is remembered for is its unparalleled association with the countless trends that it set… Sure, there’s pathos from the former’s broken home (aided beautifully by Sonny's personal score, Crockett’s Theme) and the latter’s odd romance, but Miami Vice isn’t held as one of the most significant cop shows on the box for its emotion. Living up to the initial brainstorming memo from execs who wanted “MTV Cops”, showrunner Michael Mann is more concerned with images, emotions and energy than he is with plot, words or character. A great chase in the pilot where Crockett speeds along in his Ferrari Daytona Spyder pursuing Tubbs sets the tone - this is a show about fast-moving vehicles and good-looking people. So why isn’t it as impressive as memory serves? Well, quite simply, the substance doesn’t match the over-abundance of style. Deciding to work together permanently, Tubbs transfers and they form a partnership under strict new Lieutenant Martin Castillo (Edward James Olmos). The plot is pretty straightforward stuff after his partner is killed during an undercover narcotics operation, Detective James 'Sonny' Crockett (Don Johnson) gets help from a New York cop called Ricardo 'Rico' Tubbs (Philip Michael Thomas) who is also after the drugs kingpin responsible. ![]() Full of neon blues, sexy sports cars and the best TV theme tune this side of Hasselhoff’s slow-mo jogging-assisted Baywatch number, there’s plenty of iconography going on. Yes, looking back its not as good as age-distorted memories would have you believe, but Miami Vice is still ridiculously cool. ![]()
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