Episode #34 "Definitely Miami"


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6 hours ago, Dadrian said:

Anyone else ever notice during Sonny's dialogue with Callie on the beach, he gives some kind of confusing advice? 

"You just gotta ride it out. First thing to do is get away." :) ?(

Yeah, sounds kind of contradictory...but I think what Crockett was meaning was she was not going to supposedly be able to totally cut ties with her husband Charlie right away--that a divorce and what-not would take some time. But her 1st step was to try and get away from him. Of course we know she was a fake & a psycho-nymph, who had no intentions of leaving "horse-mane". :p

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Right. It just sounds funny out of context. Idk why it always sticks out to me. I guess maybe this post should've gone under "You know you've been watching MV too much when..." :) 

Edited by Dadrian
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  • 10 months later...
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Deep philosophical question here. Well..not really but...I've not seen where this one has been discussed so here goes.

At the end of Definitely Miami, when Calli is making the sand castle and she looks up and sees "someone" walking. It is a blur to her at first. First she sees Charlie then it blurs and she sees Sonny second. She smiled in between the two visions. 

Are we to assume she reallly didn't care which one of the two it was going to be as she knew one of them was going to come to her and take care of her? That's my guess.

What do you think?

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37 minutes ago, timm525 said:

Deep philosophical question here. Well..not really but...I've not seen where this one has been discussed so here goes.

At the end of Definitely Miami, when Calli is making the sand castle and she looks up and sees "someone" walking. It is a blur to her at first. First she sees Charlie then it blurs and she sees Sonny second. She smiled in between the two visions. 

Are we to assume she reallly didn't care which one of the two it was going to be as she knew one of them was going to come to her and take care of her? That's my guess.

What do you think?

Interesting point! In all honesty, the sun was in her eyes when she looked up, which blurred her vision somewhat. I believe she smiled because she at first assumed it was Charlie...but when she realizes it’s Sonny (and she’s probably going to jail) to me her smile faulters a bit. She tries to recover as quickly as she can to try and con her way out it...but she knows. ;)

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I think, she was smiling because she was expecting to see Charlie, but then to me seemed disappointed or maybe surprised that it was Crockett. And then she started talking about taking him to places he had never been, like she had moved on just like that. Although Callie looked a bit sad, when she saw the two cops come to arrest her. But then she just continued to be affectionate towards one of the cops, as they walked towards the copter. I agree with your guess.  

 

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11 hours ago, summer84 said:

I think, she was smiling because she was expecting to see Charlie, but then to me seemed disappointed or maybe surprised that it was Crockett. And then she started talking about taking him to places he had never been, like she had moved on just like that. Although Callie looked a bit sad, when she saw the two cops come to arrest her. But then she just continued to be affectionate towards one of the cops, as they walked towards the copter. I agree with your guess.  

 

Yes I agree she knows what she’s doing - I think she was written as a bit of a player.

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  • 7 months later...

She was more than a bit of a player. Charlie and Sonny (as in Burnett) were tools to her. And I don't think she cared which tool was at hand. If Sonny killed Charlie, then to her he was a better tool. And then she moved on to the uniform officers in an attempt to get out of it. If anything I'd say she had a touch of sociopath in her character.

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8 hours ago, Robbie C. said:

She was more than a bit of a player. Charlie and Sonny (as in Burnett) were tools to her. And I don't think she cared which tool was at hand. If Sonny killed Charlie, then to her he was a better tool. And then she moved on to the uniform officers in an attempt to get out of it. If anything I'd say she had a touch of sociopath in her character.

Agree...I definitely think she had sociopathic tendencies. She may not have done the actual killings herself, but she had no problem knowing she was setting up their deaths (seemed to take joy, even), seeing it done, or being involved with violence.

However, as I stated before above, she does seem to have a moment of fear or dismay, though, when she realizes it’s Sonny & not Charlie walking towards her...at first I think because she thought he might be mad enough to hurt or kill her for setting him up—then she realizes she’s been set up and is going to jail. But this was of course dismay or fear of self survival...not over what she’d done or caused.

Edited by ViceFanMan
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I'd say more dismay than fear. Given how she tried to butter up one of the uniform officers arresting her, I don't think she really believed she'd been caught. The dismay might have been at losing such a valuable tool. She would already think she'd have to take a different approach with Sonny, and that would mean more work for her before the flow of cash from murdered dealers could start again.

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6 minutes ago, Robbie C. said:

I'd say more dismay than fear. Given how she tried to butter up one of the uniform officers arresting her, I don't think she really believed she'd been caught. The dismay might have been at losing such a valuable tool.

I’d say both...dismay and fear. She realized she’d been caught and was going to jail, and she tried one last-ditch effort to possibly get out of it, or lessen the severity of the arrest, by trying to seduce the officers. Of course the dismay or fear was for herself. 

Edited by ViceFanMan
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  • 4 months later...
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Maybe she was a black widow? Perhaps she screwed them first before Charlie killed them? Best way to draw a guy in. If you recall Charlie asked her if she "made it with him" and she said "he wouldn't, he's old fashioned." I think Charlie really didn't really seem to care if she did that with the guys as long as if fed into their pathology and they got the money in the end. I'd say they both were sociopaths.

I still don't think she cared who came for her in the end. Charlie or Sonny which would also tend to make her a sociopath.

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If she was a black widow she would have killed Charlie. I think Charlie was a tool, nothing more. She was clearly the dominant figure in the partnership. And given how she reacted to Sonny after Charlie's death there's no reason to think Charlie was her first tool. He might have been the last in a series.

I still think the most fascinating aspect of this episode is how they managed to work two Noir plots into the same hour. Two different flavors of femme fatale, even. And Joe Dalva...the arrogant Fed who gets one of the most wicked Castillo stares ever unleashed.

Edited by Robbie C.
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  • 1 month later...

Fantastic episode from the start to finish. The music and setting is amazing, Crockett looks cool as all hell. And Callie is hot, but a sociopath, I always was warned to stay away from the hot ones because they're crazy.  :) The end hits you like a ton of bricks, I'd say it's on par with the Caroline phone scene during Brothers Keeper. 

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Very flat episode storywise. Just watched season 2 and 3 again and skipped this episode because it’s boring for me (same with Junk love). This episode sticks out for just being candy colored with nice feel but that’s it. Director Rob Cohen said the same when they offered him this episode (first there was a plan to make an episode with Crockett’s son again). He decided to do it as no other options in sight and emphasize on a „sex bomb“ feel episode. My problem with it: once I‘ve seen it, it’s like after eating a oversugared cake and i will decline to try once again. Just my opinion.

PS many other flat stories in season 2 IMHO but with more interesting characters or charm/humor (e.g. Phil the shill)

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Quite a few Noir stories are surprisingly flat once you strip the visuals away from them, but that's not really the point of Noir in many cases. And Definitely Miami is perhaps THE quintessential "Sunshine Noir" episode of Vice. It has TWO Noir plots running side by side, the corrupt or just bad Fed running around, mystery ladies, a looming bad guy, and shades of Crockett's own dark side. Noir all the way. And visually it reverses most Noir tropes, being filmed in bright daylight with brilliant colors. Hence the "Sunshine Noir" name for the style.

IMO Vice actually had quite a few flat storylines until Season 3. But story wasn't always the point with Vice. That's why this episode is, in my view, pretty much what people expect to see when they hear "Miami Vice." MTV Cops=bright lights, girls in bikinis, the beach, betrayal, and so on. That's what DM delivers, along with the Noir tropes mentioned.

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1 hour ago, Robbie C. said:

But story wasn't always the point with Vice. That's why this episode is, in my view, pretty much what people expect to see when they hear "Miami Vice." MTV Cops=bright lights, girls in bikinis, the beach, betrayal, and so on. That's what DM delivers, along with the Noir tropes mentioned.

Yes, for that reason I think it's the quintessential episode of MV.

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5 minutes ago, vicegirl85 said:

Yes, for that reason I think it's the quintessential episode of MV.

Especially in terms of meeting the expectations of viewers who weren't necessarily 'into' the show. it checked every box and showed pretty much every character. Along with at least one famous guest star (ol' Ted) and his original music.

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Amazing, superb episode...visuals, colors, characters, plus the noir aspects mentioned by others above! :thumbsup: This is one episode (there were many others) that defined what the show was about. I agree with almost all of the past several posts/comments above...except about the “flat” storylines. Most of the plots and/or storylines for Seasons 1-3 were awesome...I mean, we’re not talking Shakespeare here, folks! :p 

Noir is also not about black-n-white, although some misunderstand noir and think it is. Noir is about style, characteristics, plot, and how those are carried out. There are plenty of color noirs...you can even use color to portray a certain “darkness” or tragic style...Marilyn Monroe’s film Niagara is a perfect example of that—as is Hitchcock’s Vertigo & Lizabeth Scott’s movie Desert Fury. Of course...MV is also a superb example of noir using color & styles of lighting to its advantage. ;) 

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  • 3 weeks later...

I wasn't a huge fan of the beginning of Season 2 (with the obvious exception of "Out Where The Buses Don't Run"). But starting with "Back In The World" all the way to "Little Miss Dangerous", they were just knocking it out of the park with their longest run of consistently great episodes. "Definitely Miami" might have been the apex of that run. While I give the nod to LMD based on personal preference, "Definitely Miami" is pure Miami Vice 101. Very few episodes display the spirit of the show as well as this one.

When I'm showing someone what Miami Vice is all about and I only have one episode to do it, I'm not showing them LMD, OWTBDR, Evan, Forgive Us Our Debts, etc. Those are all amazing episodes. But when you want to capture the zeitgeist of quintessential Miami Vice, very few episodes do it as well as the appropriately named Definitely Miami.

Edited by JoeyStockwell
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1 hour ago, JoeyStockwell said:

I wasn't a huge fan of the beginning of Season 2 (with the obvious exception of "Out Where The Buses Don't Run"). But starting with "Back In The World" all the way to "Little Miss Dangerous", they were just knocking it out of the park with their longest run of consistently great episodes. "Definitely Miami" might have been the apex of that run. While I give the nod to LMD based on personal preference, "Definitely Miami" is pure Miami Vice 101. Very few episodes display the spirit of the show as well as this one.

When I'm showing someone what Miami Vice is all about and I only have one episode to do it, I'm not showing them LMD, OWTBDR, Evan, Forgive Us Our Debts, etc. Those are all amazing episodes. But when you want to capture the zeitgeist of quintessential Miami Vice, very few episodes do it as well as the appropriately named Definitely Miami.

I wouldn’t show a newcomer Forgive Us Our Debts, either...that’s not really a quintessential MV episode. But definitely Definitely Miami! :thumbsup: But, Out Where the Buses Don’t Run would also be one...strange but captivating plot, with a bizarre or abrupt ending was also what MV was about—along with the colors, clothes, cars & music! ;) 

Season 2 overall is the best season in my opinion...not very many duds—if any! However, the 2pt episode/s Hit List & Calderone’s Demise (later Calderone’s Return pts 1&2 in syndication) from 1st Season are my all time favorite & are also very much what MV was about. 

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  • 1 year later...

I don't know how to start.............. Well, firstly, it is in my top 5 episodes from MV, 4th place to be more specific. I also think this is THE BEST season 2 episode.

Good music, nice plot, hot guest star actress, the "cry" ending is so badass, an intresting unique antagonist, SO FLASHY and stylish, remarkable quotes (Uh.... I get these occasional urges for stabillity in my life// You just gotta learn to go with the heat, Rico. It's just like life - you just gotta keep telling yourself, no matter how hot it gets, sooner or later there's a cool breeze coming in), combines classic MV elements (Castillo staredown, hot ladies, the beach and the sun of Miami, nice cars,etc).

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On 8/16/2019 at 12:30 AM, ViceFanMan said:

Amazing, superb episode...visuals, colors, plot, characters, plus the noir aspects mentioned by others above! :thumbsup: This is one episode (there were many others) that defined what the show was about. I agree with almost all of the past several posts/comments above...except about the “flat” storylines. Most of the plots and/or storylines for Seasons 1-3 were awesome...I mean, we’re not talking Shakespeare here, folks! :p 

Noir is also not about black-n-white, although some misunderstand noir and think it is. Noir is about style, characteristics, plot, and how those are carried out. There are plenty of color noirs...you can even use color to portray a certain “darkness” or tragic style...Marilyn Monroe’s film Niagara is a perfect example of that—as is Hitchcock’s Vertigo & Lizabeth Scott’s movie Desert Fury. Of course...MV is also a superb example of noir using color & styles of lighting to its advantage. ;) 

This was my post from about a year & a half ago...still stand by it! :done: One of my favorite episodes of the season & show! :thumbsup: 

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