Written by Lyle Weldon and Emily
Whitesell; story by Tom Fontana
Directed by Michael Fields
Despite the tremendous strength of Melissa Leo and
the countless number of excellent performances by female guest stars, Homicide was not a show that was known
for having a strong female presence. (It is possible that this may have been
one of the reasons for its low ratings.) Furthermore, the show had lost a lot
of its feminine influence when Megan Russert ran off to Paris . In an effort to try and compensate this, the
writers tried to introduce another robust female personality. Considering the
way that we meet Dr. Julianna Cox (driving full speed to her job in Baltimore)
one can’t help but think that several viewers considered Cox ‘a rating boosting
bimbo'. However, this is tremendously unfair not only to actress Michelle
Forbes but to the writers of the show.
Like all of the characters on Homicide, Cox had a lot more layers than
it seemed at first glance.
The big problem with Cox, however, was the same
problem as J.H. Brodie. She might be the chief medical examiner for the city of
Baltimore , but ME’s have no bigger role on the show than
does a videographer. The writers would try to compensate for this by putting Cox in places where the medical
examiner wouldn’t usually be (the squad room for one) and doing things that no
ME would do (talking to suspects, being on the street with every murder, and so
forth) It was a noble effort to keep her on the show, but in the end there are
only so many places you can put the coroner on a show about police.
Despite all that, the writers managed to do a much
better job of fitting Cox in Homicide then
they would with several other characters and when she eventually left the show
in March of 1998, her absence was really felt. This has a lot to do with
Forbes’s strength as an actress. She is amusing, energetic and almost brash in
her behavior and when she appeared on the show, interesting things could
happen, starting with this episode.
Through Cox we would see the workings of a big-city
police department and how some crimes slip through the crack. While
investigating the strangulation of a prostitute by a homeless man, Bayliss
learns that he killed another working girl two months earlier. When Cox
investigates, she finds out that one of her staff members ruled the crime an
overdose as a favor to one of the lazier detectives on the second shift. Her
reaction is swift and sure; she fires the examiner. In her own way, Cox has the
same attitude towards death that the other detectives have and in many cases
she is as righteous in them. However, Cox is not a prude. As she tells Bayliss
at the episodes end, she drinks too much and has affairs with the wrong kind of
people. She’s going to do a bit of both here.
But
even if you don’t like Cox, there’s a lot of other stuff going in this episode
that crackles. For example, the FBI has begun their investigation into the
bribery allegation against Kellerman and the lead investigator seems hell-bent
on uncovering all his vices. Edward
Hermann, known for playing patrician, fatherly roles takes on the role of grand
inquisitor with extreme viciousness. His scenes with Meldrick Lewis and
Lieutenant Giardello are very well written and he’s good enough to actually
take the wind out of Gee’s sails.
Kellerman is already beginning to tense up about this
investigation. He begins to become
snarky with Lewis, gets drunk later that night and gets in a bar fight with
another detective. At the same time, he is keeping a lot in--- we learn that he
hasn’t yet told his parents about the pending indictments. He seems justifiably
upset about what’s going on, but it’s not until the next episode that we learn
why he’s so concerned.
Meanwhile, Frank is making slow progress in
recovering from his stroke. For the first time since he rejoined the unit, he
is able to give pertinent advice on an investigation. But he’s also going
through something a lot more painful. He and his wife are celebrating their
tenth anniversary and he wants to celebrate by making love to her--- which is
difficult because his blood pressure medication is leaving him impotent. We see
the depth of Frank’s love of his wife when he goes to his doctor and all but
pleads with her to let him do this. The sight of Frank this upset is a
noteworthy event and it gives Braugher another angle to play off. He is able to
go forward this time, but there are further marital obstacles ahead.
Frank’s marriage isn’t the only one having
difficulties. Meldrick and Barbara have been having problems almost since the
honeymoon began six months ago. When Meldrick invites Brodie to stay at his
place (Bayliss gives him his walking papers at the episodes start) things get
notably worse when he simply makes a comment about a painting of Meldrick’s. In
fairness to Brodie, this marriage is not standing a very strong foundation and
this fight was probably going to happen anyway. Still, we know Brodie isn’t
going to be here long either.
However, the last scene of the episode has the
emotional pow that you get with Homicide.
Standing in the morgue Cox tells Bayliss
that her father has just passed away. However, her sorrow unfolds as the
scene progress, until we, like Bayliss realize whose body she’s standing over.
It is a shocking moment because earlier in the show we see that her father is
still alive and looking decent. However, we won’t realize the full significance
of this until ‘The Heart of a Saturday Night’. The scene represents some of the
best work that Forbes will do.
‘M.E., Myself and I’ isn’t classic Homicide. There’s an awful lot going on and not much time to tell all of it. Still,
it does do three things well. It introduces a new character effectively. It
sets the stage for stories that are slowly unfolding. And it highlights several
of the shows stars in unlikely places for dramatic punch. It’s not perfect but
it’s very, very serviceable.
My score: 4.25 stars.
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