{"id":947012,"date":"2025-12-31T13:52:20","date_gmt":"2025-12-31T13:52:20","guid":{"rendered":"https:\/\/www.polygon.com\/?p=443684"},"modified":"2025-12-31T13:52:21","modified_gmt":"2025-12-31T13:52:21","slug":"one-of-the-best-shows-of-the-90s-is-finally-available-to-stream","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/one-of-the-best-shows-of-the-90s-is-finally-available-to-stream\/","title":{"rendered":"One of the best shows of the \u201990s is finally available to stream"},"content":{"rendered":"
\"\"
<\/figcaption><\/figure>\n

In the world of TV, you don\u2019t get much more influential than Homicide: Life on the Street<\/em>. This police procedural, which ran for seven seasons on NBC starting in 1993, started the television career of David Simon, creator of The Wire<\/em>, and began his work mapping out the everyday tragedies of crime in the city of Baltimore. It prefigured the moral ambiguity and complex characters that defined the prestige TV era in shows like HBO\u2019s The Sopranos<\/em> half a decade later. And it created an urgent new visual language for TV, full of jump-cuts and intimate, restless handheld camerawork, that was much imitated by the likes of FX\u2019s The Shield<\/em>. Plus, it did all that within the bounds of a traditional network cop show.<\/p>\n

But Homicide<\/em> spent most of its run battling poor ratings, network interference, and the threat of cancellation. More recently, its status as a classic has been at risk for the simple reason that it\u2019s been very hard to watch. The show was mysteriously absent from streaming services, and even its availability on DVD was patchy. It felt like Homicide<\/em> might be forgotten.<\/p>\n

Fortunately, the music rights issues<\/a> that kept Homicide<\/em> offline have finally been put to bed, and all seven seasons of the show, plus 2000\u2019s Homicide: The Movie<\/em>, are now available on Peacock. It\u2019s essential viewing. It\u2019s also quite unlike anything else you\u2019ll see today. It\u2019s not so much that it\u2019s dated \u2014 it feels pretty fresh, despite its very \u201990s frame of reference \u2014 but rather that Homicide <\/em>occupies an unusual dramatic space, halfway between the meat-and-potatoes murder-of-the-week police procedurals that preceded it and the novelistic story arcs and arty filmmaking of the peak TV that it inspired.<\/p>\n

\"Andre<\/p>\n

Something else that set Homicide <\/em>apart at the time (and still does now) is that it\u2019s infused with a journalistic spirit. The show is adapted from Simon\u2019s classic nonfiction book Homicide: A Year on the Killing Streets<\/em>, which recounts his experience as a Baltimore Sun crime reporter, embedding for a year with Baltimore PD\u2019s homicide unit. Cases, incidents, and detectives from the book inspired characters and storylines in the show. As a consequence, it\u2019s about as true to life as network TV cop shows get. The fluid, unpredictable structure keeps viewers on their toes and resists the comfortable rhythms of fiction, especially traditional procedurals; you never know if a murder will be wrapped up within a single episode, develop into a season-long mystery, or never get solved at all.<\/p>\n

This gritty verisimilitude is heightened by Homicide<\/em>\u2019s v\u00e9rit\u00e9 shooting style, which was masterminded by the Baltimore-born movie director Barry Levinson (Rain Man<\/em>), who produced the show and directed key episodes. Homicide <\/em>was shot using grainy 16mm film cameras, mostly on location in Baltimore, and often handheld. The editing is loose and improvisational, getting you closer to the characters and creating a documentary feel.<\/p>\n

But it wasn\u2019t all innovation. It\u2019s just as crucial to Homicide<\/em>\u2019s brilliance \u2014 perhaps more so \u2014 that it\u2019s steeped in good old-fashioned TV craft. The detectives are brought to life by a knockout lineup of perfectly cast character actors. The great Yaphet Kotto (Parker in Alien<\/em>) is the homicide squad\u2019s intimidating pit boss Al Giardello, towering lugubriously over his detectives and barking at them with a mixture of cruelty and love. Richard Belzer\u2019s cadaverous Detective Munch is an unforgettable creation, weaponizing his kvetchy grievances against the squad\u2019s suspects; Munch outlived the show, wandering into the cast of Law & Order: SVU<\/em> for no less than 15 more seasons.<\/p>\n

\"Steve<\/p>\n

The roll call of recognizable, characterful, lived-in faces goes on: Ned Beatty, Melissa Leo, Clark Johnson, Jon Polito, one of the lesser Baldwins (Daniel, to be exact). They\u2019re strongly defined types, flawed but lovable, always in weary but inexhaustible conversation with each other about the nature of police work. They\u2019re not all good cops, but they ring true. It\u2019s a classic ensemble show \u2014 but still, one detective rises above the rest.<\/p>\n

Frank Pembleton is young, Black, educated, urbane, dressed to kill, and deadly serious. He\u2019s the most brilliant detective on the squad, and he knows it; his arrogance is his weakness. In what will be a surreal twist to younger viewers, he\u2019s played by the late Andre Braugher, whose Captain Holt on Brooklyn Nine-Nine<\/em> is a spoof of the kind of curmudgeonly police boss exemplified by Kotto in Homicide<\/em>. If you know and love Braugher for his deadpan comic timing and pained authority, seeing him as an effortlessly cool young firebrand, burning with frustrated intensity, will be a real eye-opener. It\u2019s puzzling that Homicide<\/em> didn\u2019t usher him to major stardom (or maybe it isn\u2019t; \u201990s TV was only so diverse, after all).<\/p>\n

Perhaps Homicide<\/em>\u2019s true TV genius rests in two simple pieces of iconography, though. \u201cThe Box\u201d is the windowless room where the show\u2019s interrogations take place: stark and claustrophobic, it\u2019s the stage for countless brilliantly written, ambiguous confrontations, some expanding to take over whole episodes. And The Board (a direct lift from Simon\u2019s book) is a whiteboard where victims\u2019 surnames are written in block capitals, lined up in columns under the detectives\u2019 names \u2013 black for closed cases, red for open ones. The board eraser keeps wiping, and the names keep going up, red, black, red, black, red. It\u2019s a tally of the squad\u2019s success rate and of the city\u2019s human tragedy. They can never all be wiped away.<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In the world of TV, you don\u2019t get much more influential than Homicide: Life on the Street. This police procedural, which ran for seven seasons on NBC starting in 1993, started the television career of David Simon, creator of The Wire, and began his work mapping out the everyday tragedies of crime in the city of Baltimore. It prefigured the moral ambiguity and complex characters that defined the prestige TV era in shows like HBO\u2019s The Sopranos half a decade later. And it created an urgent new visual language for TV, full of jump-cuts and intimate, restless handheld camerawork, that was much imitated by the likes of FX\u2019s The Shield. Plus, it did all that within the bounds of a traditional network cop show. But…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":947013,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-947012","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nOne of the best shows of the \u201990s is finally available to stream | Arcader News<\/title>\n<meta name=\"description\" content=\"In the world of TV, you don\u2019t get much more influential than Homicide: Life on the Street. 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