Rick (Gerald McCraney) falls for icy blonde bombshell college girl Christy Huggins (Liberty Godshall). She is a hundred different kinds of bad news. But the heart wants what the heart wants.
Rick sure as hell is not the only guy she has beguiled and uses. But, as a private investigator, he has a unique skill-set she can exploit which pushes him to the head of the line when her car gets stolen. Of course as a private investigator or even just as a rational adult he should know better.
Rick's detective agency partner A.J. (Jameson Parker) is beside himself noting how unprofessional his big brother has been. Though neither is likely to be paid, A.J. won't leave his brother's side. Blood is thicker than water no matter how much of it might get spilled investigating chop-shop goons. A.J. even helps Rick rope their friend Janet Fowler (Jeannie Wilson) into assisting them on the case.
Anyone can identify with Rick here because any of us can be dumb and irrational in our devotion to certain folks we meet. When that person is a stranger with suspect motives, people who care can seem overbearing in pleading for caution.
When it is family, watching the chips fall where they may, never feels right. Anyone can identify with A.J. in this episode too because of that. It all ties in strongly with the series bible and the episodic articulation of the awkward expressions of love between brothers in adulthood.
This episode also gives us a sense of the types of people who hire private investigators. Client-as-villain was a very common theme in the series and countless other detective shows. Client-as-self-destructive-antagonist was not nearly enough of one but was considerably more true to life in numerous instances.
Her award-winning screen-writing career suggests if Liberty Godshall had to absolutely make the choice between that and acting that she definitely made the right one.
She was more than passable as an actress as evidenced here. But like a lot of actors her looks helped her get typecast. The scripts she was reading for weren't as good as the ones she would end up writing. A voice can lead an artist on one path but it will never be as compelling as the path that gives them their voice.
Rick sure as hell is not the only guy she has beguiled and uses. But, as a private investigator, he has a unique skill-set she can exploit which pushes him to the head of the line when her car gets stolen. Of course as a private investigator or even just as a rational adult he should know better.
Rick's detective agency partner A.J. (Jameson Parker) is beside himself noting how unprofessional his big brother has been. Though neither is likely to be paid, A.J. won't leave his brother's side. Blood is thicker than water no matter how much of it might get spilled investigating chop-shop goons. A.J. even helps Rick rope their friend Janet Fowler (Jeannie Wilson) into assisting them on the case.
Anyone can identify with Rick here because any of us can be dumb and irrational in our devotion to certain folks we meet. When that person is a stranger with suspect motives, people who care can seem overbearing in pleading for caution.
When it is family, watching the chips fall where they may, never feels right. Anyone can identify with A.J. in this episode too because of that. It all ties in strongly with the series bible and the episodic articulation of the awkward expressions of love between brothers in adulthood.
This episode also gives us a sense of the types of people who hire private investigators. Client-as-villain was a very common theme in the series and countless other detective shows. Client-as-self-destructive-antagonist was not nearly enough of one but was considerably more true to life in numerous instances.
Her award-winning screen-writing career suggests if Liberty Godshall had to absolutely make the choice between that and acting that she definitely made the right one.
She was more than passable as an actress as evidenced here. But like a lot of actors her looks helped her get typecast. The scripts she was reading for weren't as good as the ones she would end up writing. A voice can lead an artist on one path but it will never be as compelling as the path that gives them their voice.
