21 Jump Street: S4E10: "Wheels and Deals Part Two"

Written by Thana St. John

Directed by Jefferson Kibbee

Airdate: November 27, 1989

Guest Star: Mickey Jones (Bobo); Ray Baker (Raymond Crane)

Back in the network era, "crossover" episodes were more common, shows in the same universe joining forces for a story. "Wheels and Deals" began as a story on the ill-fated Booker series starring Richard Greico that aired for one season on Fox. Working as a fixer for a Japanese conglomerate after leaving Jump Street, Booker was on the trail of corrupt billionaire Raymond Crane, who's left a litany of crimes in his wake. Hitting a dead end in his investigation, Booker returned to Jump Street to call in some favors. 

Crane was traced to a motorcycle gang he runs for kicks so Penhall, Fuller, Ioki, and eventually Hoffs joins as a tough talking biker girl. If the Booker episode was a grim tale of betrayal and murder, the second part takes a comical left turn. Crane takes a racial swipe at Fuller, which was a bonehead move. Ioki does some dirtbike racing and wipes out, while Penhall seems to be channeling Brando from The Wild One. Booker makes a token appearance in one scene. 

"Wheels and Deals" plays mostly as a lark. Apparently, the crime rate is declining in Metropolitan since the Jump Street Unit has time to work on a sideline case. Hanson holds down the fort at the Chapel and works on his pinball skills. Not a memorable episode and the crossover execution felt off, but the interplay between the characters makes up for it. Also, always nice to see Mickey Jones appear, character actor and legendary drummer for the likes of Bob Dylan and Kenny Rogers. 

21 Jump Street: S4E9: "Mike's POV"

Written by Glen Morgan & James Wong

Directed by Jorge Montesi

Airdate: November 20, 1989

Guest Star: Donovan Leitch Jr (Mike); Robin Lively (Helen); Vince Vaughn (Bill)

21 Jump Street experimented with the procedural structure of the series. "Mike's POV" is told from the perspective of a student doing contract kills for money. The episode's cold open has Mike killing the wife of a teacher. Mike simply wants to be popular, have a cool car and a girlfriend. Hanson and Penhall are working the case, but we only see them in their undercover guises, no scenes of them discussing the case. 

Penhall saying farewell to the 1980s.

The episode maintains a chillier and pulpier tone than usual. Penhall tries to offer counsel Mike as a coach at the school (getting too old to be believed as a student), while Hanson's adopted a dark poet persona. It's as if Depp is prepping to work in a Tim Burton film. Like teen movies of the era, Say Anything or Pump Up the Volume, the episode marks a shift from the erstwhile films of John Hughes to the more jaded landscape of the 1990s. There's a well-choregraphed fight at the end when Hanson must arrest Mike, adding to the cinematic atmosphere.

Been hanging out with Tim Burton?

Vince Vaughn makes an early appearance and Robin Lively of Teen Witch and Karate Kid III fame plays Mike's crush. 

Vince Vaughn and Robin Lively

A real gem of an episode from late period Jump Street, totally in synch with the changing attitude of youth-oriented films associated with the multiplex generation. 

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.