Homicide Episode Guide: And the Rockets Dead Glare

Written By Jorge Zamacona

Directed by Peter Markle

         This episode is possibly the weakest of the first two seasons. It’s not that ‘And the Rocket’s Dead Glare’ is particularly  weak; its just that compared to the high standards of the episodes that we have seen so far it pales in comparison to the others.

         Part of the reason that this episode doesn’t work quite as well as the others is that we leave Baltimore for one of the few times in the series entire run. While pursuing the  death of one of the student leaders  of Tiananmen Square, Detectives Crosetti and Lewis travel to the Chinese Embassy in Washington. First they have a bizarre encounter with one of the ambassadors, and then suddenly the secret Service learns of their investigation and curtails it by telling them that the murderer has already probably fled the country. Perhaps this is supposed to represent the all-knowing, all seeing power of the federal government but it seems to be a little too conspiracy film for  the viewer. Furthermore, Lewis’ rant against the  government’s sanctioning of murder seems a little too much like a television writer than a detective. What does seem realistic is Crosetti’s  ecstasy at being in the city of the Lincoln assassinations (he visits Mary Seurat’s house and ‘Fords Theatre)

         Things are much more entertaining back in Charm City where one of the more intriguing aspects of Detective Munch’s character comes to life. As he and Bolander investigate the death of a pot dealer, he engages in an analysis of where the marijuana was grown as well as the history of hemp. Unlike many of Munch’s conspiracy theories, he seems to know this a little too well. It will eventually be revealed that Munch was a child of the 60’s, but this is the first real hint that he may not be as law-abiding as the typical police officer.

         This investigation also leads us  to a narcotics detective named DeSilva, an interesting character who would unfortunately disappear after this season. From him, we get one of the first real lectures on the so called ‘war on drugs’ How Baltimore, like many other large cities, is drowning in cocaine and heroin and being stifled by a high murder rate  because of it. The big difference is that no solution to this problem is suggested because there may not be one. At the time of ‘Homicide’ the idea of  presenting problems with crime without solution was unheard of, and it adds to the series clout.

         The episode also continues stories established in the previous episode. The most notable is the trial of Pony Johnson. This is a particularly notable sequence because all of the traditional rules of courtroom dramas are cast aside. First of all, Detectives Howard and Felton are sequestered rather than be allowed to witness the trial. The tension that goes on within a trial is there, but it is expressed mainly through boredom, waiting and interminable pauses. Howard seems particularly antsy, while the more laidback Felton seems more relaxed and less concerned about what will happen (probably because he is not called on to testify). Furthermore, when Howard is called to the stand, her level of confidence is fractured when she must browse through her notes and accidentally misspeaks about the time of death, thus jeopardizing her own case. She does come out a stronger figure when she is recalled to the stand, but justice prevails mainly because the defense attorney derails himself with a procedural misstep that is so obscure even the most involved viewer may miss it. (In fact, the  dialogue and actions in the trial are taken nearly verbatim from Simon’s book write down to the guilty defendant’s exit from the courtroom.) 

         The courtroom sequence introduces us to a new character, defense attorney Darin Russom played by Michael Willis. He is the apotheosis of every slimy defense attorney that we see on TV. Whenever a killer needs a lawyer, nor matter what class, race or sex he will represent them.  This is one of the few times we will see him in action in a trial and we can understand why they are so disliked.

         The trial also reveals one of the few sexual relationships that the series

would explore between Kay Howard and Assistant States Attorney Ed Danvers. Like most of the relationships it will take place off-screen, and will ultimately come to nothing.

         The last sequence that we see is less important but compelling nonetheless. Pembleton is called in by Captain Barnfather and Colonel Granger to discuss considering him for replacing the second-shift commander. To some, this may seem like quite a promotion for someone as young as Pembleton (not yet thirty-five) and one wonders if this is the bosses way of trying to put a halter on such a troublesome character as Pembleton can be. We also get some insight into the head games the bosses play, instructing Pembleton  not to tell Giardello and then telling Gee anyway. These kinds of machinations are not Pembleton’s style, and this, combined with the fact he wants to keep working cases, is why he turns it down.

         During this we also meet Frank’s wife, Mary. On other shows, Mary Pembleton would be a token or cliché. The writers would give her a lot of strength and passion that would cause her to accept and  tolerate his flaws. Ami Brabson (Mrs. Andre Braugher in real life) is a fine actress and would show a  lot of range in her performances (particularly in the later seasons of the show)

         ‘And the Rockets Dead Glare’ has some sequences that just don’t work and some that are pure gold. The uneven mixture stops it from being a strong episode. But even in its weakest moments, Homicide is far better than 75%  of the other shows on TV. And this show explodes some clichés even while it creates a few.

My score: 4 stars.