21 Jump Street: S3: EPS19 & 20: "Loc'd Out Parts 1 and 2 (Partners)

Written by Michelle Ashford and Eric Blakeney

Directed by James Whitmore Jr.

Airdate: May 14, 1989

In an ambitious 2-part season finale for season three of 21 Jump Street, the unit finds itself being used as a political tool for a crackdown on gang violence. Fuller impels everyone, "city hall wants arrests." 

Hanson reluctantly accepts the assignment to infiltrate one of the barrio gangs, he must pass himself Latino and quickly learns gang culture. Ioki is already ensconced with one of the Asian gangs, but he's already wearied of the assignment after witnessing a deadly drive-by. He tells Hoffs, "this reminds me of Saigon."

Depp, in a role that served as a precursor for Donnie Brasco, earns the respect of the gang, convincing them he's reliable gun dealer. The operation takes a tragic turn when Ioki gets shot several times and his life hangs in balance. Hanson, convinced a cop on the force is selling out undercover agents and running his own weapons trade, breaks into his house. The officer shows up and tries to kill Hanson, while fleeing Hanson fires back. The corrupt officer is down, but it's uncertain if the bullet came from Hanson's gun.

The episode evokes The Warriors and moves of the time like Colors and American Me. The script does a good jump of communicating the unit might be out of its element this time, ending with Ioki struggling to live and Hanson possibly guilty of murder.

Loc'd Out Part 2 (Partners)

Written by Eric Blakeney and Bill Nuss (Story by John Truby, Glen Morgan, and James Wong)

Directed by James Whitmore Jr.

Airdate: May 21, 1989

Hanson is now a murder suspect but maintains his cover to search for leads. He has limited contact with Penhall who urges him to come in. Booker is sent in to replace the cop that was killed, working with his partner as they pursue Hanson. Fuller and everyone in the unit begins to question what Hanson was trying to accomplish by breaking into the cop's house. Meanwhile, the forensic investigation finds possible evidence of a second shooter.

Hanson is eventually arrested and put on trial for murder. The trial goes poorly with for him due to all the circumstantial evidence aligned against him. He's found guilty, the episode ends with Hanson alone in his prison cell.

More plot-driven than was typical for Jump Street, the story moves along well. Hanson observes, "I let my life go down the tubes." The Law & Order template of the episode also provided a procedural mostly absent from the third season. Apparently, Booker was slated to be killed in this episode, but the character proved so popular he got his own series that aired for one season. 

21 Jump Street: S3E18: "Next Victim"

Written by Bruce Kirschbaum

Directed by James A. Contner

Airdate: May 7, 1989

The end of The Fairness Doctrine in 1987 opened the floodgates for talk radio, most of it reactionary. "Shock Jocks" also began to dominate the airwaves with edgy material. 

The episode begins with a college radio provocateur going on a racist diatribe, later he's the apparent victim of a car bombing.  Jump Street is called in to investigate, and Booker is chosen to replace the radio host, while Hoffs joins Students Against Racism and befriends the leader who's also a suspect in the bombing.

Greico does a great job in the episode, he's surprisingly good on the radio, almost too good. He gets into the role so much Hoffs starts to wonder if he's really acting. In an earlier episode, Booker mentioned he was a fan of the TV host Morton Downey Jr. and told Hanson he was proud of being white, suggesting Booker might harbor some racism. He's so good in fact, Dennis becomes a cult hero among the young conservatives on campus. 

The campus conservatives want to start having their people placed in high positions to further their agenda and they seek Booker's endorsement for an upcoming election. At a party, Booker notices the all-white party attendees freely dropping the n-word, so he gets a taste of real hate (I'm sure most of them found jobs in the Trump administration). In his final appearance on the radio, he makes a call for unity. It's also revealed the car bombing was staged by the former radio host.

The script did a good job of tapping into zeitgeist of American political tensions as the '80s were ending. Reportedly, Depp refused to participate in this episode believing it was racist. While the script does repeat some racist talking points, it clearly comes down on the side of anti-racism. The episode also deals with how polarizing politics was starting equal big money for media companies. 

Talk Radio, the Eric Bogosian play and film, clearly inspired the episode. The scenes at the radio station are filmed in a similar way with dim lighting and cigarette smoke creating a cinematic atmosphere for network television. 

Final Report: The episode stands as a highlight of season 3 - even prophetic on the future of discourse in media. 

21 Jump Street: S3E17: "Blinded by the Thousand Points of Light"

Written by Glen Morgan & James Wong

Directed by Jorge Montesi

Airdate: April 30, 1989

Guest Star: Bridget Fonda (Molly)

You may recall the phrase "thousand points of light" from Neil Young's rocker "Rockin in the Free World." It was also something of a campaign slogan for the 1988 George Bush campaign. 21 Jump Street remains an artifact of the Reagan era; but its willingness to provide nuance on issues affecting '80s youth makes the series useful for getting inside the psychic weather of the decade. This episode is a prime example. 

Homeless runaways are getting murdered, so the Jump Street unit goes undercover on the gritty streets of Metropolitan (Vancouver). It's a tough assignment for everyone as they see how street kids are being exploited by sex traffickers and drug dealers. Ironically, Penhall gains the nickname "Trump" for his skill at conning people out of money. Hoffs befriends Molly who is part of a runway gang surviving together. 

Bridget Fonda plays Molly, a rare example of a guest star carrying a Jump Street episode. In 1989 she was on the cusp of stardom and would appear in many mainstream hits like Single White Female and numerous indies. She brought a quiet strength and dignity to Molly.

Glen Morgan and James Wong's script was both cinematic in design and rich in characterization. Depp only appears in a few scenes, but he gets to nab the killer who tried to solicit him. 

The episode offers a gritty depiction of America as the '80s were coming to a close, a country where many were still left behind.

Final Report: Jump Street at its best, richly layered and nuanced. 

21 Jump Street: S3E16: "High High"

Written by Eric Blakeney and Bill Nuss

Directed by Mario Van Peebles

Airdate: April 23, 1989

Guest Stars: Michael Des Barres (Mr. Karst); Phillip Linton (Jimmy); Mario Van Peebles (Dana)

The Jump Street unit crashes art school in the fan favorite episode, "High High." Drugs at rampant at a local performing arts school so Hanson, Penhall, Ioki, and Booker are sent in to mix with art students (Hoffs as well, but she's not been given much to do recently).

Everyone manages to find their niche at the school. Hanson joins the rock band class allowing Depp to whale on his guitar for the entire episode. Penhall takes acting class but struggles until he finds his way through by reinterpreting Jackie Gleason. Booker has the most fun of all by joining the performance art troupe, he spews punk poetry and smashes televisions, considered one of his iconic moments from the series. 

Mario Van Peebles directed the episode with style and appears in one scene as a film professor. British rocker Michael des Barres is also memorable as the acting teacher who pushed Penhall to greatness on the stage. 

Wake up Penhall!

The only drawback to the script is the exhausted trope of drugs in schools. Apparently, everyone is getting high. Booker befriends Jimmy, a proto–David Foster Wallace type harboring a symbiotic relationship with substances. In a staged assembly, the entire school is arrested by the county judge! That was sort of awesome. Who's up for some community service?

21 Jump Street: S3E15: "Fathers and Sons"

Written by John Truby

Directed by Jefferson Kibbee

Airdate: April 9, 1989

Guest Stars: Michael Laskin (Mayor Michael Davis); Ricky Paull Goldin (Tad Davis)

Hanson and Penhall are investigating yet another drug ring at a High School and discover the mayor's son is involved and also a coke junkie. 

"Fathers and Sons" is filled with bizarre moments and then takes a jarring moralistic towards the end. The Unit is all abuzz over Ioki's beautiful new girlfriend, but the plot thread never goes anywhere. Penhall still stays with Ioki but is told to leave - and ends up passed out at his old house where he has a surreal conversation with a coded gay man who now resides there. Can Penhall not afford a new place?

Meanwhile, the mayor calls of the Jump Street investigation to avoid scandal, but Hanson and Penhall continue anyway, then Captain Fuller gets suspended for letting it continue. Hanson's main squeeze Jackie takes a heel turn, informing the mayor Fuller disobeyed his order. 

Then the mayor's son Tad dies of an overdose, so Fuller is reinstated to track down the dealers responsible. You with me? Hanson drops Jackie cold even after she apologizes, proving his loyalty is first and foremost with the unit.

The "let's get these awful drug dealers" climax felt out of synch with the series, which always worked best when walking a fine line on moral issues. There's a bit of everything in the episode, both compelling and oddly off tone. 

21 Jump Street: S3E14: "Nemesis"

Written by John Truby

Directed by Ken Wiederhorn

Airdate: March 26, 1989

Guest Stars: Krista Errickson (Christine); Linda Darlow (Joyce Booker)

"Nemesis" is more psychological thriller than cop drama as Booker blames himself for the killing of a student who was mistaken for a NARC. He's infiltrated a gang of drug dealing teens at a high school who call themselves "the wastoids."

Booker's guilt leads him to question himself as a cop. He visits his mom and tries to connect with his girlfriend. As he struggles not to blow his cover, the tensions heighten

The best part of the episode is the intro, editing like a late '80s horror film Wes Craven style. Greico was allowed to show off his acting skills here, the episode would become a template for his own series Booker to air the next season.

Reportedly, the episode was originally written for Johnny Depp, who objected to the script having Hanson cover-up a murder. Hanson appears only briefly. More of an outlier episode, slightly out of tune with the season, but still good. 

21 Jump Street: S3E13: "A.W.O.L"

Written by Glen Morgan & James Wong (Story by Peter Dixon)

Directed by Michael Robinson

Airdate: March 19, 1989

Guest Stars: Harrison Page (Sgt. Larry Wilcox); Patrick Labyorteaux (Pvt. Jack Weaver)

After a former army buddy of Captain Fuller's asks him to help locate a recruit that's gone AWOL, Hanson and Penhall are assigned to find the Private and return him to his base. 

They find Private Weaver at a local High School and then must drive him back to his base. Along the way the three of them bond, but Weaver runs away at a rest stop, then Hanson and Penhall get lost looking for him in the woods, Penhall injures his leg, but they eventually realize they were on the base all long.

An episode of missed opportunities. Recruitment efforts during the Reagan era escalated, especially at High Schools. A story about a kid who enlisted, was mistreated, and tried to leave had potential to comment on 1980s militarism. But the story avoids the issues, devoting most of the episode to being lost in the woods. Sgt. Wilcox promises to treat Weaver right - and that's that. At times, this felt like an homage to The Last Detail, but the script focused more on action.

It should be mentioned this was the first episode written by Glen Morgan and James Wong who would write many more for Jump Street. They would play a big part in 1990s pop culture, working on The X-Files, Space: Above and Beyond, and Millennium. You can read my Millennium Blog here.

Final Report: Malaise continues to afflict the third season. 

21 Jump Street: S3E12: "The Dreaded Return of Russell Buckins"

Written by Marc Abraham & Paul Bernbaum

Directed by Rob Iscove

Airdate: February 26, 1989

Guest Stars: Joseph Campanella (Hunt Samperton); Jane Sibbett (Louise); Angelo Tiffe (Russell)

Hanson's old chum Russell from the previous season, this time causing trouble after he wrote a magazine expose on the Jump Street program. Hanson's placed on suspension and must track down his friend to clear his name.

Buckins is tracked down to San Francisco where Hanson finds him courting a rich heiress, Louise. Hanson also takes a liking to Louise, leading to some plot hijinks. Hanson convinces Buckins to clear his name.

A lackluster episode on many fronts. Buckins is more annoying this time around and brings little to the table, while Hanson seems detached even though his career in on the line. The farcical tone of the episode works at times, but it feels like it belongs in another series. TV veteran Joseph Campanella provides some charisma as Louise's wealthy father. 

21 Jump Street: S3E11: "Wooly Bullies"

Written by Bruce Kirschbaum, Eric Blakeney, and Bill Nuss

Directed by Bill Corcoran 

Airdate: February 19, 1989

Guest Stars: Dom DeLuise (Uncle Nick); Michael DeLuise (Young Penhall)

"Wooly Bullies" is a stock episode from the network TV era, one of those where the characters sit around and relate stories from their past. Jump Street had already done that with a Valentine's Day themed episode the previous season, "Chapel of Love." 

Penhall is working undercover as a computer geek and is getting bullied by one of the jocks. It brings up painful memories from his past. All the characters relate stories from childhood about peer pressure and dealing with mean kids. A girl bullied Hanson in grade school, Fuller was pressured to shoplift. Booker punched out his tormentor. Penhall had to deal with losing his mom and bad guys at his school who humiliated him.

A family affair episode, Peter DeLuise's famous father Dom played his uncle, while younger brother Michael also appeared. But most of the flashbacks are forgettable and they never pursue the issue of bullying too far; it's all a bit tongue and cheek. 

21 Jump Street: S3E10: "What About Love?"

Written by Michelle Ashford

Directed by David Jackson

Airdate: February 12, 1989

Guest Star: Bobby Hosea (Marcus)

Hoffs is dating her co-worker Marcus but breaks it off when she discovers he's married. In response, he continues to corner her at work, repeatedly calls, and writes a negative report of her job performance. She wants to accuse him of sexual harassment, but fears revealing details about her personal life. In a desperate move, she tapes him trying to coerce her, and he gets removed from his job.

In other storylines, Dorothy and Penhall finally break up, forcing Penhall to find a new residence. Ioki reluctantly takes him in but is disgusted by Penhall's sloppy habits. They also must work a case to nab a flasher. Hanson and Jackie are still dating; she's pushing him to be more ambitious. 

Holly Robinson carries the episode, delivering both a strong and vulnerable performance. The sexual harassment theme is handled with subtlety, as Marcus has the facade of being a "nice guy" and is not the typical workplace creep. The more comical subplots provide some balance. Robinson and DeLuise also have a nice scene reaffirming their friendship. 

The script emphasizes the group's dynamic in a more of a callback to the previous season, taking a breather from the moral ambiguity running through season three. 

21 Jump Street: S3E8: "The Blu Flu"

Written by Clifton Campbell

Directed by Bill Corcoran

Airdate: January 29, 1989

Guest Stars: Art Metrano (Larry Stubbs); Robert Romanus (Gary); Kevin Dunn (Reed)

More division hits the Jump Street Unit after the police union rejects the new contract. Hanson observes negotiations, while the others consider their options. Hoffs and Booker join the picket line, Penhall is under pressure from Dorothy to find a new job, while Ioki resents the work stoppage. Captain Fuller, being part of management, must keep working. The 1980s was a shaky era for labor unions, and the script deserves credit for not going corporate.

Penhall attends to household chores.

Booker bonds with veteran Officer Stubbs over baseball and even stepped in to deescalate a tense confrontation during the episode's climax, and even takes the blame for a tire slashing incident to prevent Stubbs from losing his job. Hanson is mostly absent this week, while Penhall deals with Dorothy being the only breadwinner. Ioki views the strike as more of a hinderance to his stock portfolio, he clashes with Booker. Eventually, both sides agree to a contract. 

Booker holds the line during the strike

If there's an all-star for this episode it would be Fuller, he keeps working and stays calm in a stressful situation, including being partnered with an incompetent rookie. As usual, Fuller exudes balanced leadership during a crisis. While Depp was the "star" of the series, Steven Williams was the glue that always held things together. I would point to this episode as a prime example. 

Final Report: Williams and Greico hold morally complicated positions in the episode, lifting the material.

21 Jump Street: S3E7: "The Dragon and the Angel"

Written by E. Paul Edwards

Directed by Jefferson Kibbee

Airdate: January 15, 1989

Guest Stars: Russel Wong (Locke); Kelly Hu (Kim Van L); Danny Kamekona (Van Luy)

Ioki infiltrates a Vietnamese gang known as Pai Gow who are linked to several heists, creating moral dilemmas about his identity and line of work. He befriends the gang's leader Locke who wants to bring prosperity to his community and take advantage of the opportunities offered by American capitalism. In opposition to Locke is Van Luy, a businessman who also runs a newspaper that critiques American foreign policy. To add more intrigue, Locke is in love with Luy's daughter Kim.

The script does a great job of cross-examining notions of American identity. As of the 2020s around 1.3 million Vietnamese refugees live in the United States. The episode draws on tensions of assimilation and the aftermath of the Vietnam War. Nguyen's performance expresses his ambivalence on going undercover within a culture he's a part of and shares many common experiences. He understands Locke is trying to do good for the community, but also realizes his job requires him to enforce the law. In a discussion with Fuller, Ioki opens about his conflicted feelings about the case.

Ioki leads a sting operation on Locke, despite his conflict. He visits him in prison, and they have a bitter confrontation. Much of season three has dealt with the moral certainties of previous seasons coming under more pressure. The episode also deserves credit for dealing with the Vietnamese American community and its complexities. 

A subplot with Hanson getting shot in the behind in a friendly fire incident allowed for some strained comic relief. Penhall goes to outrageous lengths to compensate for his guilt, following a long tradition of TV tropes with a comical "b" story. 

Final Report: Another strong episode, dealing with identity and moral dilemmas.

21 Jump Street: S3E6: "Hell Week"

Written by Bill Nuss

Directed by Jonathan Wacks

Airdate: December 18, 1988

Guest Star: Gary Hershberger (Michael); Doug McKeon (Todd)

In "Hell Week" the Jump Street unit goes undercover inside a college fraternity to investigate a campus rape. Hanson and Ioki are assigned to the elite fraternity and must endure "hell week" to get initiated. Booker gets the "academic" frat to follow a lead, while Penhall and Hoffs provide backup.

This is Jump Street at its best. The entire cast is involved, and script is a compelling expose on the dark aspects of Greek life. Michael and Todd run the elite fraternity; they use a racial slur when they see Ioki but recruit him because they believe his father runs a Japanese conglomerate. During their trials, Hanson and Ioki have to eat disgusting food and engage in dangerous drinking challenges. At one point, they save a pledge who almost drowns.

Ioki and Hanson save the life of a recruit.

Booker balks at having to hang out with nerds, but Hanson tells him he can be the "Fonz." And that's exactly what happens! Booker acts as an ally to the well-meaning geeks, dishing out advice and stepping in to stop a bully (see above). 

Eventually the bad guys are caught through their own stupidity. They videotaped the crime. Their exploitation of female students is a point of pride, even a recruitment selling point. I'm sure this was common - then and now.

"Hell Week" is similar to a first season episode "My Future's So Bright, I Gotta Wear Shades" which dealt with Prep School privilege. The emphasis here is on hazing, toxic masculinity, and misogyny, rare for a Prime Time show during the 1980s.  

Final Report: Once again, season three continues to explore hot button issues, excavating the moral erosion of institutions as the Reagan era ended.

21 Jump Street: S3E5: "Whose Choice is it Anyway"

Written by Michelle Ashford (based on a story by David Abramowitz)

Directed by Bill Corcoran

Airdate: December 11, 1988

Guest Star: Dana Ashbrook (Mark); Stacy Edwards (Rebecca)

Scenes of protest and violence in the late 1980s? The decade was far more divisive that we're led to think considering all the nostalgia around the decade.

In the episode, the crew are sent to investigate threats towards a woman's health clinic. Hoffs goes undercover as a pregnant High School student, while Ioki infiltrates anti-choice protestors who are resorting to violence. 

The script does its best to maintain the right tone on a divisive issue, although the talking points often get skewed. Ioki confesses he's opposed to abortion, while Hoffs reveals a painful secret from her past. 

Dana Ashbrook of Twin Peaks fame appears as a student enraged his girlfriend Rebecca is considering getting an abortion. 

The episode hits differently since Roe v Wade was repealed by the Supreme Court in 2022. Many states have criminalized the procedure, and many men proudly proclaim women don't deserve bodily autonomy. Many also believe prison time is fair game for women who disobey men in our warped political moment. 

Sal is given his own subplot. We thought he was happily married, but he's got a wandering eye. To boost his confidence, Booker hires a working girl to give him attention, which blows up in everyone's face.

Out with the boys

 An imperfect episode, but also a reminder that nostalgia is illusory and history often delivers a back kick.

Final Report: 21 Jump Street was willing to take on some of the most divisive issues of the 1980s, for that alone the series deserves respect and reevaluation. 

21 Jump Street: S3E4: "Coach of the Year"

Written by Bill Nuss

Directed by James Whitmore Jr.

Airdate: November 27, 1988

Guest Star: Gary Lahti (Coach Lyle Rickman) Scott Allan Campbell (Teddy)

Booker and Penhall are assigned to investigate a popular High School football coach who's forcing his players to play through injuries. After a student suffers a serious spinal energy, Jump Street tries to build a case against the coach.

Despite some contrivances, the episode manages to distract from its shaky premise. Unsurprisingly, Booker and Penhall clash as they join the team as football players. I'm not sure if it was even legal for them to play - but whatever. At first Penhall suspects nothing until he visits the paralyzed player Teddy who talks about the relentless pressure he was under. 

The episode culminates with a big game where Penhall gets injured, but the coach forces him to play. Despite it all, the Coach gets off free. His friends in the City Council and the community protect him because he keeps winning. Penhall does another rash move, giving a rambling speech at an awards banquet that's honoring the unethical coach.

In this case, justice fails to prevail. But it seemed like a slim chance anyway, how could they pin the coach for breaking the law? Sports themed episodes remain popular and that's a big part of the story's appeal. In the time since, the cult of the football coach remains stronger than ever.

For the second week in a row, Penhall was given a strong storyline, and we see more fraying of his confidence. 

Final Report: Once again proof 21 Jump Street was ahead of the curve on many issues.

21 Jump Street: S3E3: "The Currency We Trade In"

Written by Eric Blakeney

Directed by Neil Fearnley

Airdate: November 20, 1988

Guest Star: Perry Gilpin (Fitzgerald); Yvette Nipar (Jackie)

Midway through the episode, a desperate and disgraced Penhall consults Capt. Fuller for advice, and is told "reputation is the currency we trade in."

Still working with the intelligence unit, Penhall cracks a big case and was moved to the "major crimes" unit. There he finds the culture toxic and unfriendly. He and his new partner Fitzgerald are assigned to a case involving explosive accusations against a local celebrity. Convinced the suspect has sexually assaulted his own child, Penhall's aggressive interrogation technique backfires when it turns out the accusations were false. 

Penhall receives verbal abuse for his mistake and must live with himself after destroying the suspect's career. It's clear he let emotions get in the way, not helped by his arrogant demeanor among more experienced detectives. We've never seen Penhall this desperate as he flails around trying to make amends. Ultimately, Penhall confides to Fuller "I want to come back" and "start over" because Jump Street was the only place where he ever made a difference. 

Penhall confides with Fuller

A subplot introduces a new love interest for Hanson, Assistant DA Jackie Garrett. Although their blind date at Penhall's went bad, they reconnected later at Hanson's favorite spot, the bowling alley. Hanson's love interests tend to be fleeting, but there's hints of real connection here. 

Another hard-hitting episode, once again exploring themes of moral ambiguity and ethical roadblocks. Penhall learns the limits of his abilities and feels the wrath of the system after his screw-up; Jump Street seems to symbolize a space of moral certitude and refuge. The episode nicely juxtaposes Jump Street idealism with institutional reality. We're glad Penhall's back but also wonder whether he -and we, as the audience - are ready for failure and ideological pushback. 

Final Report: One of the more devastating episodes, idealism and confidence comes crashing down.

21 Jump Street: S3E2: "Slippin' into Darkness"

Written by Clifton Campbell

Directed by James A. Contner

Airdate: November 11, 1988

Guest Star: Richard Coca (Raffi)

Noirish music plays in the background as the camera drifts through dark streets of Metropolitan (Vancouver) as Hanson and Booker try to nab a notorious drug dealer. Hanson dons an earring and a hat, wearing a dingy coat through the episode. He and Booker seem simpatico at this point, the gritty streets are becoming their natural habitat. All is going smoothly until a street vigilante group known as The Rangers mess up their investigation. 

Watch groups were a byproduct of the 1960s, largely a movement of white suburbanites terrified of civil unrest spreading into their neighborhoods. The fear and subterranean racism of the movement were in tune with the Reagan ethos. Rhetoric from such groups is often marked by a lack of faith in law enforcement to control crime so citizens must take matters into their own hands.  Thus, the central conflict of the episode.

The episode was possibly inspired by The Guardian Angels. Curtis Silwa, the group's founder, became a national media figure and skillfully directed the group's public image as protectors of the people. Others saw them as menacing vigilantes creating even more tension. 

Fuller sends Ioki and Hoffs to infiltrate the Rangers, finding the group well-intentioned but misguided and confused about their methods and purpose. They keep disrupting Jump Street investigations and even end up killing one of their own. Their leader Raffi personifies all their contradictions, eager to stop crime but naive about methods. 

Hanson as a shady dealer.

The script skillfully undermines what the Rangers hope to achieve. At one point, the drug dealer is able to get police protection because of harassment from the Rangers! They get in the way of undercover work, they kidnap Hanson without knowing he's actually a cop. The camera lingers on Hanson's uncertain fear after he's taken hostage. Fuller, increasingly central, exudes a calm professionalism (he's got a cool car phone!) The three-way struggle between criminals, cops, and vigilantes deepens the institutional uncertainty the series has begun to explore. 

James A. Contner directed the episode, a veteran of Miami Vice and Crime Story, both Michael Mann produced shows (also was the cinematographer on Cruising). You can feel the cinematic edge, mostly shot on location, the nighttime energy pops. 

Final Report: Jump Street's most noirish episode yet, the tonal shifts are skillfully subtle. 

21 Jump Street: S3E1: "Fun with Animals"

Written by Eric Blakeney

Directed by James Whitmore Jr.

Airdate: November 6, 1988

Guest Star: Richard Grieco (Officer Dennis Booker)

21 Jump Street returned for a third season in November of 1988, introducing a new character, Officer Dennis Booker. "Booker" holds a unique niche in the Jump Street universe; he was the only character who would go on to their own series. Booker aired on Fox (1989-90) for one season.

"Fun With Animals" set a gritter tone for Jump Street, with Booker serving as the catalyst. We're never introduced; the episode begins in shop class with Hanson and Booker getting into a staged fight that might not be so fake. They're tracking a group of repugnant students spreading racial hate at the school, at one point they burn a cross in a Black student's yard. Then a Black female student is assaulted, and Hanson suspects the racist students - or possibly his new partner.

Booker and Hanson at loggerheads.

The episode hinges on the tensions between Hanson and Booker. Fuller finds it amusing Hanson is so annoyed with Booker, who breaks rules and chides Hanson, calling him "Mr. Liberal" at one point. Booker is brasher and more willing to break protocol. Hanson suspects Booker is racist but then gets called out by for his own privilege as a good-looking white guy. Sounds like a twitter battle from 2016. 

Meanwhile, Penhall (looking about 40 with his beard) continues to work intelligence and seems to like it (apparently, he's on stakeouts all day). Hoffs is charmed by Booker, much to Hanson's chagrin. The plot thickens when it's revealed Booker actually works for Internal Affairs and was assigned to monitor Hanson and to see if he entraps students who were innocent. Eventually it's revealed the student was physically attacked by a gang of girls, and Hanson's suspicions about Booker were unfounded.

In today's terms, Booker would be considered a disruptor. Up to this point, the Jump Street crew was airtight, but that might change. By the end, Booker comes to respect Hanson and hopes they work together on another case, dragging him to a strip club to "throw him off." At one point, Booker declares Morton Downey Jr. "a good man," there's a dated reference for you. 

A weightier episode than usual, one wonders what was happening behind the scenes. Depp was eyeing a movie career and Grieco appeared to be a possible replacement as series lead. If the first season had fun with the novel concept of undercover High School cops and the second season focused on group cohesion, the third promised more tension and conflict. 

Final Report: B+