21 Jump Street: S4E8: "Stand by your Man"

Written by Michelle Ashford

Directed by Daniel Attias

Airdate: November 13, 1989

Guest Star: Ken Olandt (Evan)

The episode begins with Hoffs being promoted to Detective as the unit is pursuing a designer drug lead at a prestigious medical school. When one of the male students sexually assaults Hoffs, her career is put into jeopardy.

Hoffs was always the most professional officer in the unit, and she had to deal with vulnerabilities her male colleagues never had to face. There were many episodes when she was working undercover and a student would develop a crush on her - usually played for laughs. 

When Hoffs develops chemistry with medical student Evan, they share a brief kiss, but she makes it clear she's only interested in being friends. At a party later that night he assaulted Hoffs, claiming she gave consent. But she did not. The issue of consent is at the center of the episode, rare for the 1980s. It also deals with the judgement and intrusive questions Hoffs faces, any woman faces, after making a rape accusation. Why did she wait so long? How did she conduct herself with Evan, giving him the wrong idea?  

Hanson proves himself to be a worthy ally in the episode, offering quiet emotional support. Fuller also tries to support Hoffs, but his fatherly manner towards alienates more than it helps. When word gets out about the rape accusation, everyone acts differently towards Hoffs, either patronizing or awkward. 

'Stand by your Man" refuses a neat conclusion. Evan gets a slap on the wrist for his sentence due to his wealthy connections. Neither does he seem to believe he did everything wrong. Holly Robinson gives a good performance, given a rare moment in the series which required a complex performance. Credit must also be given to the script written by Michelle Ashford. Most fans prefer Jump Street when it's a good time show, but the questions and themes in this episode remain relevant over 30 years later. 

21 Jump Street: S4E7: "Out of Control"

Written by Thania St. John

Directed by Mario Van Peebles

Airdate: November 6, 1989

Guest Stars: Christine Elise (Quincy)

Hanson is assigned to investigate a string of robberies connected to a group of thrill-seeking students. Mario Van Peebles returned and once again brough a cinematic style to the episode. 

Hanson bonds with student Quincy, played by Christine Elise who leaves an impression, the de facto leader of the group. There are two tense scenes: students swap cars while speeding on the road and they like to play chicken with a rollercoaster.

Fuller chastises Hanson for going along with these stunts. Even Penhall and Ioki feel he took things too far. Once again, Hanson talks about quitting. We also learn Ioki is struggling with pain pill addiction.

The story's a bit thin, but the stylistic sequences more than make up for it. 

21 Jump Street: S4E6: "Old Haunts in a New Age"

Written by Glen Morgan & James Wong

Directed by Jefferson Kibbee

Airdate: October 30, 1989

Guest Stars: Pamela Adlon (Dori); Ian Abercrombie (Lemieux) 

In the Halloween themed episode "Old Haunts in a New Age", the Jump Street cast gets to relax and lighten things up for a change. Written by Glen Morgan & James Wong, the episode is full of allusions to classic horror and Sci-Fi. The story follows Hanson and Penhall as they investigate a string of arsons at a high school, while the squad back at the chapel discovers a literal skeleton in the attic. 

The episode's cold open follows High School student Dori who seems to be present at all the fires, the sequence is stylistic and set to a New Wave soundtrack, very similar to how Millennium (1996-1999) would begin its shows (Morgan & Wong also wrote for that series). Hanson and Penhall observe goings on at the High School and find no clues, they rule out Dori but are intrigued by her claims of having visions. 

Nice homage to Spielberg

While driving at night Penhall is overcome by bright lights like Richard Dreyfuss in Close Encounters in a fun scene. After the skeleton is found at chapel, they consult a Ouija Board and invite a crank medium. No one seems to be around at the precinct, are we back to the clubhouse of season one?

The climax happens at the Halloween school dance. Hanson goes as Travis Bickle, I'm sure that was Depp's idea. Depp even seems to be having fun for a change. Even "Blowfish" makes an appearance, it's been a while. 

"Old Haunts in a New Age" is a treat for fans of the series. It taps into the absurdity motif running through the fourth season. The tone of this season is not unlike the senior year of high school; everyone can let loose and have some fun (although there will be serious episodes). 

Final Report: A minor Halloween classic of the 1980s TV canon. 

21 Jump Street: S4E5: "God is a Bullett"

Written by John Truby

Directed by Jefferson Kibbee

Airdate: October 16, 1989

Guest Stars: Tim Thomerson (Gordon Brooks); Richard Cummings Jr (Mr. Bosley)

The authoritarian new principal who's going to kick ass and take names became a favorite trope of the late 1980s. From a grumpy Jim Belushi wielding a baseball bat in The Principal or a determined Morgan Freeman in Lean on Me, the idea of a powerful personality taking over a troubled High School resonated with audiences. Sometimes it was a teacher, Stand and Deliver or Dangerous Minds being two examples.

In "God is a Bullett" Tim Thomerson of Trancers fame guest stars as a principal who wants to rule the school with an iron fist. Hoffs and Penhall are sent in to investigate the situation. Principal Brooks is so impressed with Penhall after he breaks up a fight he's made permanent hall monitor. Hoffs follows her usual method of ingratiating herself with the troublemakers.

P

Penhall seeks advice

Not a bad episode, but one embodying the exhaustion starting to hit the series. There's a whole "are we still doing this" energy to everything. Penhall's tired of playing referee, while Hoffs finds it almost too easy to manipulate students. 

The best scenes in the episode are in the classroom where Mr. Bosley is teaching The Great Gatsby. The novel's social commentary on class privilege leads to class discussions getting the students to ask tough questions about America, leading Principal Brooks to censor the teacher. Now that's a great premise for an episode!

Final Report: The old formula still works, but barely. 

21 Jump Street: S4E4: "Come From the Shadows"

Written by Larry Barber & Paul Barber

Directed by David Nutter

Airdate: October 9, 1989

Guest Stars: Kamala Lopez (Marta); Kristoffer Tabori (Father Jim Kelly)

Penhall, Ioki, and Hoffs are sent undercover to a Catholic High School to investigate an illegal adoption ring. Much of the story revolves around the ongoing Civil War in El Salvador (1980-1992). A member of the school faculty is leading a movement against the stance of the U.S. Government on the Civil War, often holding demonstrations in class on the ongoing human rights abuses. 

Penhall falls in love with one of the activists Marta, a refugee from the country. To prevent her deportation, Penhall proposes marriage. So, they get married! The episode ends on a downbeat note as Marta is deported despite the marriage.

"Come From the Shadows" is a mostly joyless episode. Hanson is absent, Penhall and Ioki argue, and the adoption plot lacks a dramatic punch. Still, the focus on international affairs and criticism of U.S. policy carries some weight. 

21 Jump Street: S4E3: "Eternal Flame"

Written by David Stenn

Directed by Mario Van Peebles

Airdate: October 2, 1989

Guest Stars: Thomas Haden Church (Tony); Tracy Griffith (Linda); Michael Des Barres (Gavin)

"Eternal Flame" is one of my favorite episodes of 21 Jump Street. Hanson is assigned to bust up a drug ring at a trendy club. He finds that his old flame Linda - is the boss's fiancée. Directed by Mario Van Peebles, the MTV aesthetic of the episode is all Dutch angles and late 80s neon. Depp's in full Miami Vice mode, stylish, remote, partially invested in the story. His engagement during late era Jump Street was often erratic, sometimes barely present, but focused if the story was right. 

Michael Des Barres plays the sly club owner taking on Hanson as his protégée, in the previous season Des Barres played an acting teacher in "High High." Tracy Griffith holds her own with Depp as Linda and the two rekindle their romance. Naturally, they go bowling and there's a montage sequence that could only exist in 1989. Hanson reveals he's a cop and confesses to Penhall he's ready to quit and start a new life with Linda, but, alas, in the end, Linda decides they are better off apart. 

Thomas Haden Church appears rocking an epic mullet in one of his early TV appearances. Holly Robinson plays Hoffs as a party girl looking for a score, totally committed to her undercover identity.

The episode has the narrative structure of Casablanca with the emotionally vacant vibe of American Psycho. It's more mood piece than procedural. Network television of the era was starting to experiment with cinematic techniques, Twin Peaks and Miami Vice being two examples. The medium was changing beneath the radar of critics. "Eternal Flame" lives in that space, soaked in late night neon and end of history energy. 

21 Jump Street: S4E2: "Say it Ain't So, Pete"

Written by Bill Nuss

Directed by Jefferson Kibbee

Airdate: September 25, 1989

Guest Stars: Rick Aiello (Lenny)

It's back to business as usual as Hanson and Penhall go undercover to investigate an illegal sports gambling operation. On a positive note, Ioki also returns to duty. Meanwhile, the Jump Street Unit prepares to take their detective exams, except for Hanson who confesses to Penhall he might leave the force altogether.

The gambling story is mediocre. Penhall gets enthused himself after he goes on a winning streak (appreciated the shout out to Bernie Kosar and the Browns) but then bombs the detective exam. Hanson observes college students getting exploited with high gambling debts, leading to skeevy club owner Lenny played by Rick Aiello. 

Hoffs passes the detective exam, not a surprise since she's always been the most professional. Fuller knows almost too much about gambling and confesses he still bets on Monday Night games.

Tonally, this episode is similar to earlier seasons, with its emphasis on Hanson and Penhall as a team and the low stakes gambling plot. The story was oddly prescient since sports gambling is now mostly legal and becoming a wider social problem.