Episode #71 "Death And The Lady"

[ViceFanMan]

3 minutes ago, RedDragon86 said:

Cringey, corny and cheesy all rolled into one.

It is actually quite unbearable watching that.

 

Lol...Agreed! 

[vicegirl85]

13 hours ago, ViceFanMan said:

Crockett didn’t necessarily regularly deal with high influential or politically connected people. He mostly dealt with drug dealers and pimps...rich as they might be. Sometimes he had dealings with big-wigs, but not that much, and he also didn’t smack/beat them around either.

But, sadly a lot of politicians, judges, senators, actors, artists, musicians, sports players, etc...are into porn and sick kinds of perversion. Glantz was not a “little punk”. He was politically connected and had high influential friends (or had them in his pocket) that would not want that public.

They would have lots to lose if Crockett continued his investigation into Glantz, his “world”, and the death of Amy Rider. They would not have had any problem getting Crockett “removed” from the situation & Glantz, to try and hush the whole thing up.

I disagree (with your judgment of Glantz' s influence in high places (if he had decided to make an issue out of it), but each to his own.  I'm in agreement that the "influential political connections" would have melted away.  Voters would not want to accept that their elected officials were going to bat for an avant-garde porn "artiste".  If these officials were really in his pocket and tried to protect him by getting Crockett fired, his whole sordid body of work would have been exposed quickly and everyone who supported him would have gotten some of the fallout.  

But as I said, each to his own.  Peace, out.

[ViceFanMan]

1 minute ago, vicegirl85 said:

I disagree (with your judgment of Glantz' s influence in high places (if he had decided to make an issue out of it), but each to his own.  I'm in agreement that the "influential political connections" would have melted away.  Voters would not want to accept that their elected officials were going to bat for an avant-garde porn "artiste".  If these officials were really in his pocket and tried to protect him by getting Crockett fired, his whole sordid body of work would have been exposed quickly and everyone who supported him would have gotten some of the fallout.  

But as I said, each to his own.  Peace, out.

I understand what you’re saying. But this wasn’t an election or campaign thing, and it wasn’t a public thing like a trial...otherwise they might not do anything to help Glantz. But, this was a private thing...as Glantz wasn’t charged with anything or even under investigation anymore. Glantz himself basically let Crockett know how connected he was. But, like I said before, it was the 80s, Crockett was one of the main stars, and reality was not really what MV was going for. To each his or her own...I think most can agree it was an amazing episode!  

[vicegirl85]

I understand it's not an election thing.  My point is that voters don't want the people they elected to be involved in tawdry businesses and there would not need to be a trial in order for it to become public.  The press would take care of that.  Politicians in general want to be perceived as positive role models (whether they are or not), and not as afficionados of such "art" as snuff films and the artists who create them.

If Glantz really believed his political connections would have protected him if he was to complain to them, I think he was living in a dream world.

My opinion, but you are entitled to yours.

I do agree it's an amazing episode.

[ViceFanMan]

1 minute ago, vicegirl85 said:

I understand it's not an election thing.  My point is that voters don't want the people they elected to be involved in tawdry businesses and there would not need to be a trial in order for it to become public.  The press would take care of that.  Politicians in general want to be perceived as positive role models (whether they are or not), and not as afficionados of such "art" as snuff films and the artists who create them.

If Glantz really believed his political connections would have protected him if he was to complain to them, I think he was living in a dream world.

My opinion, but you are entitled to yours.

I do agree it's an amazing episode.

You’re right...(at least in the 80s) the politicians and elected officials would not want any of their involvement with Glantz to be that public. Crockett was making that a possibility. I’m sorry but in reality people with power and political connections can do a lot to cover up. Glantz could (and in reality would) have used his connections to have Crockett taken care of. His attack on Glantz would not have been made public, none of it would be public. They could have had Sonny dismissed or demoted, and privately. Sadly that kind of thing happens in reality all the time. But, again, I know the show was not necessarily about reality. It was more about visuals and entertainment. 

[Robbie C.]

5 hours ago, vicegirl85 said:

I disagree (with your judgment of Glantz' s influence in high places (if he had decided to make an issue out of it), but each to his own.  I'm in agreement that the "influential political connections" would have melted away.  Voters would not want to accept that their elected officials were going to bat for an avant-garde porn "artiste".  If these officials were really in his pocket and tried to protect him by getting Crockett fired, his whole sordid body of work would have been exposed quickly and everyone who supported him would have gotten some of the fallout.  

But as I said, each to his own.  Peace, out.

This. Crockett on the force has to stay quiet (or there are leavers to make him stay quiet). Crockett OFF the force is a different thing entirely. He no longer has to keep quiet and can throw a bunch of dirt all over the place.

If we're talking Crockett adversaries with clout, I think it would be very hard to top Maynard. That guy was connected to the hilt, and in many different arenas. He makes Glantz look like a valet parking attendant by comparison. Maynard would have know where ALL the bodies were buried and who put them there. An easy thing for him to pick up the phone and have Crockett disappear (either figuratively or literally). But also on Maynard's scale Crockett is more or less an annoying fly buzzing around his ear. He got in the way a time or two, but nothing to really derail what Maynard was up to.

[ViceFanMan]

Agreed...Maynard was in a whole other league than Glantz, Crockett, or even the local politicians/people of power. None of those people could touch him. But, Maynard was national/international...that was a whole other situation. As for Glantz and the people of political & social power around Miami, they were still above & had way more pull than Crockett. In their eyes Crockett was also an annoying fly buzzing around...but one they would want to swat, to keep him quiet and from exposing anything more.

[Tom]

vor 10 Stunden schrieb Robbie C.:

This. Crockett on the force has to stay quiet (or there are leavers to make him stay quiet). Crockett OFF the force is a different thing entirely. He no longer has to keep quiet and can throw a bunch of dirt all over the place.

If we're talking Crockett adversaries with clout, I think it would be very hard to top Maynard. That guy was connected to the hilt, and in many different arenas. He makes Glantz look like a valet parking attendant by comparison. Maynard would have know where ALL the bodies were buried and who put them there. An easy thing for him to pick up the phone and have Crockett disappear (either figuratively or literally). But also on Maynard's scale Crockett is more or less an annoying fly buzzing around his ear. He got in the way a time or two, but nothing to really derail what Maynard was up to.

Glantz was indeed a valet parking guy compared to many other adversaries Crockett had to deal with.

We had for example Mr. Johnston the banker, we had the Jorgenson wallstreet magnate Family, Thomas Pearce the governor candidate, Bill Proverb the „holy“ TV evangelist, Congresswoman Woods and Howard Famiglia the „saint“ lawyer, just to name a few. All of them had serious beef with Crockett and all reason to shut him up permanently but none succeeded. The latter implicitly threatened Crockett with a court trial („it’s slanderous to connect me with it“). Crockett stayed cool and said „Sue me.“ what happened? Did the celebrity lawyer sue him? No. He made a serious face and that was it. (Famiglia was in a similar tricky reputational situation as Glantz and his personal involvement in the baby case was as Hard to prove with conclusive evidence as Glantz’ personal involvement in the killing). LOL

all these examples in the series clearly demonstrate two things: first Glantz was a nobody that could not have harmed Crockett in any way (also as no politician could have afforded to chip in his reputation with voters for an alleged snuff porn killer) and Second that it is even not easy for real big cheeses to get a cop shut up or fired. Even Colonel Baker would have had trouble to get Crockett’s badge in the Finale given the illegal foreign mission he had to expose/admit in order to do that if Crockett had not quit. They would have rather fired Baker after a congressional scrutiny. 
 

Glantz is completely overrated and his prominent friends were connected with his activities as a painter and high school teacher only, not with his new porn flick hobby. With the latter no one would have come forward to help him.

 

 

Edited July 14, 2021 by Tom

[Glades]

I agree that it is by no means guaranteed that Glanz could have endangered Crockett because of his slapping. But I think that the whole issue goes much deeper.

In general, I see two stories in MV. One external and one internal. I'll try to explain it.

In the context of the external story this slapping is explainable and makes some sense, but it is not very likely. A cop in real life would hardly drive to a former suspect, give him a sermon and then slap him. He would possibly get mad at himself, get upset with his friends about it, figure out how to do better next time, whatever.

In the context of the inner story, this action tells us something about how Crockett internally deals with the events ( Glanz' s crime and the fact that this crime is not prosecuted). He sees himself as a kind of "father" who mediates between his children (Glanz and Amy) and ensures justice.  A task that a cop does not have at all. A cop is only responsible for investigating and enabling the justice system to draw the consequences.

In fact, the scene takes place at the very end of the episode, without a member of the team, and after that the episode is over. Which fits that it is a reflection of the events by Crockett.

In Miami Vice, there are repeatedly scenes that make particular sense to me when I interpret them as an external representation of inner experience.

 

Edited July 14, 2021 by Glades

[Robbie C.]

1 hour ago, Glades said:

I agree that it is by no means guaranteed that Glanz could have endangered Crockett because of his slapping. But I think that the whole issue goes much deeper.

In general, I see two stories in MV. One external and one internal. I'll try to explain it.

In the context of the external story this slapping is explainable and makes some sense, but it is not very likely. A cop in real life would hardly drive to a former suspect, give him a sermon and then slap him. He would possibly get mad at himself, get upset with his friends about it, figure out how to do better next time, whatever.

In the context of the inner story, this action tells us something about how Crockett internally deals with the events ( Glanz' s crime and the fact that this crime is not prosecuted). He sees himself as a kind of "father" who mediates between his children (Glanz and Amy) and ensures justice.  A task that a cop does not have at all. A cop is only responsible for investigating and enabling the justice system to draw the consequences.

In fact, the scene takes place at the very end of the episode, without a member of the team, and after that the episode is over. Which fits that it is a reflection of the events by Crockett.

In Miami Vice, there are repeatedly scenes that make particular sense to me when I interpret them as an external representation of inner experience.

 

Nicely explained, Glades. Vice often “existed” on two different levels, and those levels are often determined by a specific character (often Crockett, but there were episodes like this for Castillo, Trudy, and others).  The levels don’t always cleanly mix, either, which is why they’re sometimes missed or misunderstood. 

[Glades]

21 minutes ago, Robbie C. said:

Vice often “existed” on two different levels, and those levels are often determined by a specific character (often Crockett, but there were episodes like this for Castillo, Trudy, and others).  The levels don’t always cleanly mix, either, which is why they’re sometimes missed or misunderstood. 

Thanks, Robbie!
Yes, the story told across all 5 seasons, the "torch", is carried alternately by several characters and their lives. Most often by Crockett, but also by others, as you say.
As a result, all the episodes are interconnected. They don't just stand on their own. Which makes the show much more interesting and powerful. Good individual episodes and a good overall story!
I didn't realize that the first time I watched it. Only that there was something I could clearly feel, but not name. So I had and still have a lot of detective work to do on repeat viewings!

[Robbie C.]

I would say in some ways it’s a character driven meta-narrative. I can’t say I was always consciously aware of it, but feeling it was there informs my fiction to a great degree (and, I think, helps it fit into the show’s narrative as well as it seems to). 

[ViceFanMan]

4 hours ago, Glades said:

I agree that it is by no means guaranteed that Glanz could have endangered Crockett because of his slapping. But I think that the whole issue goes much deeper.

In general, I see two stories in MV. One external and one internal. I'll try to explain it.

In the context of the external story this slapping is explainable and makes some sense, but it is not very likely. A cop in real life would hardly drive to a former suspect, give him a sermon and then slap him. He would possibly get mad at himself, get upset with his friends about it, figure out how to do better next time, whatever.

In the context of the inner story, this action tells us something about how Crockett internally deals with the events ( Glanz' s crime and the fact that this crime is not prosecuted). He sees himself as a kind of "father" who mediates between his children (Glanz and Amy) and ensures justice.  A task that a cop does not have at all. A cop is only responsible for investigating and enabling the justice system to draw the consequences.

In fact, the scene takes place at the very end of the episode, without a member of the team, and after that the episode is over. Which fits that it is a reflection of the events by Crockett.

In Miami Vice, there are repeatedly scenes that make particular sense to me when I interpret them as an external representation of inner experience.

 

Interesting thoughts, and well put! I agree that there are lots of times two "stories"...the external & internal ones. In reality this is lots of times the case...especially when dealing with problems of society. If you care, there's going to be the two contexts you have to deal with...the external one of following through with procedures/policies of your job, or how you outwardly deal with them, even if you don't like them or want to, depending on the situation. Then the internal one of how you internally feel or deal with them...possibly how you actually feel about the situation and people involved.

Sometimes you can even act on some of your internal views...go more above & beyond the external to help or make things right. Most crime/cop shows have both of these "circles" or contexts with the main characters...at some point their personal views or feelings will enter into their jobs or ways of dealing with things as well. I think all the main characters of MV did this too, even Castillo had his moments. I'm not sure Crockett viewed Glantz as one of his "children" to guide, but I think he did want to try and ensure justice for Amy.

However, I also agree with you that in reality a cop is not going to drive over to a suspect or a person involved with a case's house, give them the proverbial sermon, and then slap the crap out of them...although that cop (and us too) might want to. That was not realistic and I fully agree...in reality he or she would most likely vent about the case to co-workers, friends, and be mad at themselves & the situation. In this case, Crockett might also continue to try and investigate the death of Amy Rider, as well. 

And no, there's no "guarantee" that Glantz would endanger Crockett's job because of the slapping and assault...but the odds are pretty high. Even if ultimately somehow Sonny wouldn't be demoted, transferred, or even fired, in reality Glantz would have tried. If a celebrity, actor, sports player, etc...whether local or nationally known (and especially if they have connections with judges and political people) is suddenly assaulted by an angry cop, they're not going to just sit back and do nothing. 

I agree that Crockett's actions at the end were his internal feelings being acted out externally...but it wasn't realistic. But, as I've said several times before, MV was not about reality that much...it was more about visuals, entertainment, and you're supposed to just sit back and watch...we’re supposed to just go with it.

Edited July 14, 2021 by ViceFanMan

[Glades]

2 hours ago, Robbie C. said:

would say in some ways it’s a character driven meta-narrative.

That´s good!

 

2 hours ago, Robbie C. said:

I can’t say I was always consciously aware of it, but feeling it was there informs my fiction to a great degree (and, I think, helps it fit into the show’s narrative as well as it seems to). 

I read a lot of what you wrote, but not everything, so perhaps I missed something. But I saw a meta-narrative in your novels. One I can relate to:

In the beginning, you tell of an escalation of trying to finally defeat evil. More people, more weapons, less restriction because of "by the book". But even that only leads to battles won and everyone pays a high price. The war went on.
Eventually, this experience leads Sonny to found Caitlin's House. I see this as an attempt to move from just fighting to cooperation and integration as well.

 

 

 

Edited July 14, 2021 by Glades

[Robbie C.]

3 hours ago, Glades said:

That´s good!

 

I read a lot of what you wrote, but not everything, so perhaps I missed something. But I saw a meta-narrative in your novels. One I can relate to:

In the beginning, you tell of an escalation of trying to finally defeat evil. More people, more weapons, less restriction because of "by the book". But even that only leads to battles won and everyone pays a high price. The war went on.
Eventually, this experience leads Sonny to found Caitlin's House. I see this as an attempt to move from just fighting to cooperation and integration as well.

 

 

 

In my mind there was a touch of redemption as well…Sonny trying to reconnect in some way with Caitlin’s legacy and perhaps what he thought she would have liked him to become. Add in his understanding of how he failed as Billy’s father and wanting to start new with Jenny and it creates a potent mix. 

[Glades]

12 minutes ago, Robbie C. said:

In my mind there was a touch of redemption as well…Sonny trying to reconnect in some way with Caitlin’s legacy and perhaps what he thought she would have liked him to become. Add in his understanding of how he failed as Billy’s father and wanting to start new with Jenny and it creates a potent mix. 

Robbie, thank you for your explanations!
And I certainly didn't want to say that's all you thought. Or even that it is the most important aspect. It's just an aspect I noticed that fits the theme here.

[Robbie C.]

52 minutes ago, Glades said:

Robbie, thank you for your explanations!
And I certainly didn't want to say that's all you thought. Or even that it is the most important aspect. It's just an aspect I noticed that fits the theme here.

I never assumed you were saying that. But redemption (or a lack of it) is a vital part of Noir and we could see Sonny pimp slapping Glantz as a way he tried to redeem himself in his own eyes for failing to bring Glantz to trial.  

[ViceFanMan]

The “dead eyes”. Darker quality pic from online, but still chilling. 

[Eillio Martin Imbasciati]

On 7/12/2021 at 10:05 PM, Robbie C. said:

But money is the fuel of politics, and if a finance person wanted to get rid of Crockett, it would be a simple thing to host a fundraiser or two and then call in the favor. In terms of Proverb, he could "mobilize the faithful" and get a publicity campaign going that might force the politicians who run most police departments to sacrifice Crockett to calm things down. Both of those individuals would have been a much bigger threat to Crockett's career than an artist, especially in the '80s.

I guess all three characters are threats to a certain extent, though with Jorgensen Sr. & Jr. they just wanted Crockett to leave them be (Jorgensen Sr. soothing the situation with admitting his son to rehab in the future). The Proverb circumstance put Tubbs in a dangerous situation, even to the point that even Crockett told Tubbs to stay away from the Proverbs because if he doesn't he could make things worse. I think Glantz could probably call in the same types of connected people to put pressure on the police department and do something about Crockett.

Onto a plot point, I've been thinking about this lately, and the more I like the fact that I'm not sure if Glantz filmed Amy Ryder as "dead eyes" or not. I mean, I could see him going both ways with this: being bold and going full gusto, taking art to life & death while flaunting it, or using Margot as a stand-in to avoid any future legal issues.

[ViceFanMan]

On 7/16/2021 at 11:51 AM, Eillio Martin Imbasciati said:

The Proverb circumstance put Tubbs in a dangerous situation, even to the point that even Crockett told Tubbs to stay away from the Proverbs because if he doesn't he could make things worse. I think Glantz could probably call in the same types of connected people to put pressure on the police department and do something about Crockett.

Onto a plot point, I've been thinking about this lately, and the more I like the fact that I'm not sure if Glantz filmed Amy Ryder as "dead eyes" or not. I mean, I could see him going both ways with this: being bold and going full gusto, taking art to life & death while flaunting it, or using Margot as a stand-in to avoid any future legal issues.

Agreed...and Glantz not only could, but already was calling in his connected people to start putting the pressure on the OCB, as he informed them after he was dismissed from all charges. 

As for the “dead eyes”...that’s one of the interesting and captivating plot twists! There were supposedly 3 girls involved—Amy Rider, Laurie Swan, and Margot. I originally always thought that Amy actually was the dead eyes, but Glantz later hired Margot to claim she was really the actress once he was under suspicion for the death of Amy (something I don’t think he planned on even being important to the police, let alone find himself connected to it).

But, maybe it actually was Margot...or Laurie? However, I wonder if Glantz wanted and maybe was hired/paid to film a real snuff film for his “darker” clients (who knew it was a real life murder)? The film was marketed as a fake porno snuff...but Glantz and a select few knew better.

Or, (instead of London like the song says), there really was a werewolf in Miami, and he snuck onto the set of Death and the Lady & murdered Amy? But...I seriously doubt it.  This was just a wild, “dark”, but fascinating episode that I never get tired of watching! 

Edited July 20, 2021 by ViceFanMan

[apocalypse]

Nice to see this episode finally getting the attention it certainly deserves. Very, very strong episode and it goes to my all time top-5 favorites.

It has some cool moments like when Tubbs comes to Crockett's boat and says "Moon over Miami". Death and the Lady has certain "dark atmosphere" which was also achieved with "Forgive us our debts". Milton Glantz character was excellent and the blonde woman with "dead eyes" was also very impressive (and beautiful). This should have been the season opener, instead of Contempt of Court (which isn't a bad episode, either).

 

[Eillio Martin Imbasciati]

On 7/20/2021 at 6:22 AM, apocalypse said:

Nice to see this episode finally getting the attention it certainly deserves. Very, very strong episode and it goes to my all time top-5 favorites.

It has some cool moments like when Tubbs comes to Crockett's boat and says "Moon over Miami". Death and the Lady has certain "dark atmosphere" which was also achieved with "Forgive us our debts". Milton Glantz character was excellent and the blonde woman with "dead eyes" was also very impressive (and beautiful). This should have been the season opener, instead of Contempt of Court (which isn't a bad episode, either).

 

I agree, it really was one of the more overlooked outstanding episodes, and I'm happy to see it getting its due. 

Yeah, I think when it pertains 'Contempt of Court', it doesn't feel like a proper season opener to me since the episodes that follow it have a totally different fell to them, so it doesn't set the table for what follows all that much (I know that's both a positive and negative). To me, 'Contempt of Court' is more of a by-the-book (normal?) episode, while what follows is anything but (again, both a + & a - ). I'd accept 'Death and the Lady' as the opener, with 'Child's Play' next (then 'Contempt of Court can follow, then 'Amen...Send Money', then let's begin to split apart those wacky episodes, move 'em around a bit ).

[Jack Gretsky]

I guess it was only a matter of time before our Vice squad got around to investigating a snuff movie.  This is a good episode, the first good one of S4.  Classic Vice. 

Some scenes reminded me of favorite 1980s movies - Body Double, Crimes of Passion with the peep-show booths, To Live and Die in L.A. when Glantz burns the painting he had just completed - just like Willem Dafoe does.  1970s classics too - Kelly Lynch popping up as several characters is similar to Dominique Sanda also playing almost-subliminal multiple characters in Bertolucci's The Conformist.  I was less pleased to see Penelope Ann Miller; I find her decidedly unenchanting. (She almost ruined Carlito's Way with her bad acting and insufficiency as a love interest.)

There's a creepy games-playing atmosphere throughout this story and some "laying of pipe" for Sonny's eventual meltdown. (e.g. smacking Glantz around.)  Several striking overhead shots too. (There are, in fact, lots of cool designs in this.)  "Death and the Lady" - now this is the MV I like! 

"The Edge of Town" by The Truth is this episode's best song track. (And I always love those cruising around at night sequences.)  Miami Vice Wiki says that a mix of Depeche Mode's "Never Let Me Down Again" is in this one, but I had to return to its scene to hear it because it was playing so low in the background.  How dare they play Depeche so faintly! 

[ViceFanMan]

10 hours ago, Jack Gretsky said:

I guess it was only a matter of time before our Vice squad got around to investigating a snuff movie.  This is a good episode, the first good one of S4.  Classic Vice. 

Some scenes reminded me of favorite 1980s movies - Body Double, Crimes of Passion with the peep-show booths, To Live and Die in L.A. when Glantz burns the painting he had just completed - just like Willem Dafoe does.  1970s classics too - Kelly Lynch popping up as several characters is similar to Dominique Sanda also playing almost-subliminal multiple characters in Bertolucci's The Conformist.  I was less pleased to see Penelope Ann Miller; I find her decidedly unenchanting. (She almost ruined Carlito's Way with her bad acting and insufficiency as a love interest.)

There's a creepy games-playing atmosphere throughout this story and some "laying of pipe" for Sonny's eventual meltdown. (e.g. smacking Glantz around.)  Several striking overhead shots too. (There are, in fact, lots of cool designs in this.)  "Death and the Lady" - now this is the MV I like! 

"The Edge of Town" by The Truth is this episode's best song track. (And I always love those cruising around at night sequences.)  Miami Vice Wiki says that a mix of Depeche Mode's "Never Let Me Down Again" is in this one, but I had to return to its scene to hear it because it was playing so low in the background.  How dare they play Depeche so faintly! 

This is probably the best episode of the season! Amazingly, hauntingly captivating! I don’t know if it’s still the case, but at one time the FBI used to claim that there were no actual real-life snuff films...they were just urban myths. Any porn flicks that were supposedly snuffs, were fake & it was all just simulated.  

I didn’t believe that then & I darn well don’t now.  There sadly is enough of a sick & perverted/evil ‘audience’ (as exclusive/secretive as they might be) to want & pay for horrific garbage such as what Glantz did in this episode. 

As for Penelope Ann Miller...she was pretty young in this, but she also wasn’t really the girl/s of focus. Her dead sister & the other stand-ins were. So, I guess her small part didn’t bother me that much. 

Love Depeche Mode...always enjoyed their songs in episodes!  

[Jack Gretsky]

12 minutes ago, ViceFanMan said:

This is probably the best episode of the season! Amazingly, hauntingly captivating! I don’t know if it’s still the case, but at one time the FBI used to claim that there were no actual real-life snuff films...they were just urban myths. Any porn flicks that were supposedly snuffs, were fake & it was all just simulated.  

I didn’t believe that then & I darn well don’t now.  There sadly is enough of a sick & perverted/evil ‘audience’ (as exclusive/secretive as they might be) to want & pay for horrific garbage such as what Glantz did in this episode. 

As for Penelope Ann Miller...she was pretty young in this, but she also wasn’t really the girl/s of focus. Her dead sister & the other stand-ins were. So, I guess her small part didn’t bother me that much. 

Love Depeche Mode...always enjoyed their songs in episodes!  

Indeed, the OCB would have their hands full with all of the blatant vice these days!

I love Depeche Mode too, but I was disappointed that the great "Never Let Me Down Again" was neither the standard mix nor used for a major sequence.