18 - Tramp Stamp Stop and Frisk (S8E7 Underbelly) - Munch My Benson: A Law & Order: SVU Podcast

Episode Transcript
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Speaker 1 (00:00):
Yeah, well you got attack, you do tell you? Maybe
well so looks if you guys as good as you say.

Speaker 2 (00:07):
Take my word for shame mine, it wouldn't be a
fair trade.

Speaker 1 (00:32):
In New York City, sexually based offenses are considered especially heinous.

Speaker 3 (00:37):
These are their stories, all.

Speaker 1 (00:42):
Right, guys, welcome to another munch My Benson with Josh
and Adam. My name is Adam. I'm here in Galveston.
Joining me on theline is Josh. How are you doing
out there, Josh peachey? Nice? Well, I don't know what
you've been up to. I just had a baby shower
that we did truly, which means that everything gets mailed
to you, which is great. I've been opening presents in

(01:05):
the last few days, but it means that there's just
this enormous mountain of cardboard in my house that I
finally got rid of today. It was like probably at
least one hundred pounds of just cardboard. It feels like
I'm so wasteful and the dumb kid isn't even here yet.
But that's about all I've been up to. I haven't
really had any time to watch TV. The in laws

(01:27):
were here helping out, and you know, it's pretty wild.
How about yourself? You up to anything?

Speaker 3 (01:34):
Went for a drive yesterday, nice out into Antelope Valley.
We missed the poppy bloom, but it was a nice
scenic drive.

Speaker 1 (01:43):
That's cool.

Speaker 3 (01:45):
Watched California Split, which is good Altman movie from what
seventy four? Right on with the George siegeal and Elliott
Gould Nice.

Speaker 1 (01:58):
Well, should we just jump into this one and see
where it takes us? We got a kind of an
interesting episode, a little different. It's called Underbelly. It was
season eight, episode seven, and I'll just jump into the recap.
Some high school douchebags were upset they didn't get laid
at a post prom party on a really sick boat.

(02:20):
One of them decides to pee off the bulkhead before
they head to the next after party and spots a
floater faced down in the East River, right where his
stream would have landed. The body belonged to a young
girl with the same pawprint tattoo that have been found
on two other recent corpses. So detective Stabler and Beck wait,
who the fuck is that? Oh? It's star of Stage

(02:42):
and Screen Connie Nielson in a strange turn as Stabler's
temporary partner whilst Mariska Haggertay was out on maternity leave.
Now where was I? Yes? Stabler and Beck start their
investigation by checking out a tattoo parlor that looks conspicuously
like a salon operated by one of John Van Anton's
competitors from the two thousand and four to six reality

(03:03):
show Blowout. The proprietor points them towards another tattoo parlor
that is actually just a convenience store with a guy
doing tattoos in the corner, where they strong armed the
ex con into giving them some genuine leads. They find
out the girl was named Sean Tal and find her
former foster mom, who shows them an extremely uncanny Valley
cheerleading video that really seems to connect with Detective Bank. Sadly,

(03:26):
the girl has been taken out of this posh foster
home and placed back into the custody of her outlandishly racist,
stereotype biological welfare mom, who nearly gets one kid killed
during the brief conversation she has with the cops. The
welfare mom preferred the company of her possibly pedo boyfriend
to her daughter, so Chantal was shipped off to a

(03:47):
group home where we find out that she'd been a hooker.
Elliott's connections in Vice lead them to a massive open
air hooker market in East New York, where Beck and
stable Or conduct a stop and frisk tramp stamp check
on all the young working girls, eventually finding one named Belinda,
who bears the mark of the beast. Yeah. Belinda is
a huge fan of Julia Roberts and like her idol's

(04:10):
character and pretty woman, she talks constantly, eventually telling them
the name of her pimp, Victor, to the detectives neglect
to investigate, and also that a rich guy had adopted
the three dead girls so they could live a better life.
Belinda is put in care of Sister Peg, a Catholic
nun who cares for sex workers. Now, the detectives uncover

(04:32):
the names of the rich guy, his name is Blake Peters,
and track him to a hotel where they find him
in bed with a young, but not criminally young college student.
SVU eventually decides to leave Blake Peters behind and investigate
the pimp, and they go to the house of a
Venice Jones, where Victor Bodin that's the pimp's name, is
known to frequent in the course of their talk with Venice,

(04:53):
they notice that she refuses to sit on the couch,
so they open up the height of bed, which reveals
none other than Michael Kate will Williams aka Omar Little
as Victor Voting, wearing a pinstriped suit and a smile.
Victor is charged with prostituting a minor and held on
five hundred thousand dollars bail. Meanwhile, Elliot, Beck and Novak
head out for a post trial beer, which ends with

(05:15):
Stabler and Beck violating all kinds of Departmental HR policies
in a stilted makeout session. The next day, sister Peg
is hospitalized after a severe beating by Victor, but Victor
is still in jail right, Well, no, he's not. That
little punk name in Bryce aka Hulito McCullum from the
Wire assisted in him escaping via a highly improbable scheme

(05:37):
which saw the two of them trade identities in lock up,
with Victor getting out on the turnstile jumping charge and
name and Bryce being held on the prostituting of a
minor charge. Now this time, Victor is not hiding out
at Venice Jones' house, but instead at a fancy loft
he owns in Williamsburg. His bags are packed and he's
ready to leave for some fun in the sun with

(05:59):
his quote top Haughty in the dr but instead decides
to slap her around beforehand. Stabler and Beck arrived just
in the nick of time, but Belinda's severe case of
Stockholm syndrome leads to a messy hostage situation and it
chased through a warehouse, which ends with Victor dead at
Beck's hands. Elliott tries to do a power sympathy drive home,

(06:19):
leading to weepy sex move, but instead gets turned down
and we are left with a blue balls dick Wolf.

Speaker 3 (06:27):
It's pretty wild episode.

Speaker 1 (06:29):
There's a lot going on here.

Speaker 3 (06:30):
I mean, first off, yeah, it's like it's one of
those seven or eight episodes of TV in one episode.

Speaker 1 (06:37):
And I think the biggest problem that I have with
it is it's just like so disconcerting to watch an
episode of SVU that doesn't have Benson in it at all,
like not even as a I mean, I guess she
shows up for one scene, which is super weird, but.

Speaker 3 (06:50):
Yeah, this is one of the six that she wasn't
involved with during her maternity leaves, So.

Speaker 1 (06:54):
Yeah, I mean I guess we have to talk about
Connie Nielsen. Connie Nielsen has a very I've got a
lot of storied career. She's been in some really big movies.

Speaker 3 (07:06):
This is the weirder thing is that she's Danish. She
sure is, and she is affecting a New York accent
that does not work.

Speaker 1 (07:13):
It does not work.

Speaker 3 (07:14):
Yeah, Okay, so a little bit about Connie Nielsen's background.
I sort of went down a little rabbit hole. Nice,
She's only been living in the US for about a
decade at this point. Okay, this episode being filmed. Maybe
that accent choice was too bold. She's doing this weird,
stilted I know, kurt New York accent. That just doesn't

(07:36):
She does not pull it off. She was also she
was raised Mormon in Denmark.

Speaker 1 (07:41):
Weird. I didn't know they had them.

Speaker 3 (07:43):
Yeah, it shouldn't be a possibility. She grew up in
a tiny village of what is currently fewer than twelve
hundred people and they're only there are fewer than forty
four hundred people in Denmark present day that are Mormon.
So she shouldn't be able to be a Mormon. It
shouldn't be possible. But somehow she was raised Mormon.

Speaker 1 (08:00):
If you're wondering why you know her name, She's been
in like great movies. She was in Gladiator, she was
in Rushmore. She had a really great role in Permanent Midnight,
the movie with Ben Steller where he's the alf creator.
She's been in a lot of great stuff. And she's
almost like too big of a star to be a
bit player in an SVU episode, you know, just to

(08:23):
be a six episode arc. And they do that thing
they did with with Danny Pino and Rollins where they
kind of try to give her too much backstory, I
think too soon.

Speaker 3 (08:35):
It's the same issue that they ran into Sharon Stone,
is that she's just too big of a name when
they cast her, and you have to if you get
an actor of that caliber, you have to give them
something to do.

Speaker 1 (08:46):
Yeah, exactly, Yeah, And I mean they really could have
just done like they could have just done some like
Finn and Finn and Munch episodes, you know, maybe just
have like a Stabler solo Dicky Stabler Deep Dive episode
something like that. But no, they brought in a big star.

Speaker 3 (09:02):
Like she's very clearly not meant to be a cop
in this unit too. I know, I think they want
to introduce a character who basically flames out of the
unit because they're not cut out for it. And I
guess that's theoretically interesting, especially since they have to like
work around six episodes that Mariska Harget is not available for.
So I get this, but it's it doesn't make it
fun to watch.

Speaker 1 (09:23):
So yeah, let's get away from that. Let's get to
the fun stuff.

Speaker 3 (09:26):
Yeah.

Speaker 1 (09:26):
The show opens with a shot of an extremely long
stretched lemo with the guy standing up through the moonroof
playing trumpet. Why this is not explained? Who plays trumpet
through the moonroof of a lemo? Anyways, behind that is
a party boat. Now, Josh Dugan and I at one
point we're both party boat captains, and we had to

(09:48):
be the crew of boats like that one with douchebag kids,
Like we're on that boat getting off of the boat,
and I saw them, those guys, kindred spirits. They had
to watch these kids walk down the gangway and not
fall off, even though all they wanted to do is
push them between the boat and the pier so that
they've cut their legs.

Speaker 3 (10:07):
Off, well, or at least just not like pull the
boat into the end. Of the pier as as like
firmly as you could. Yeah, you know, like leave a
little space, leave a little space and just fucking you know,
let them fall.

Speaker 1 (10:24):
Yeah. Uh, these kids were upset that they didn't get
laid at the party. And it's like, you know, the
party on the boat is probably only gonna last about
an hour or two. And where are you gonna get
laid on this this like not private party boat. You know,
there's like a big group there. You're gonna get laid
in the little like marine head. That's not a very

(10:46):
romantic spot to go. Let's see. Also, the kid walks
not ten yards away from the gangway. He just walked
on to take a leak like.

Speaker 3 (10:55):
It's nonsense, and it's his pissing cock would be in
full view of every one d.

Speaker 1 (11:01):
Board exactly, every single person getting up the boat would
have to look at his dick.

Speaker 3 (11:05):
And it's cold, obviously it's cold enough that the there's
very little dcomp on the body in the water. Yes,
so we know that he would not be showing Well.

Speaker 1 (11:15):
No, he stands on a light pole to take the
leak too. Who does this?

Speaker 3 (11:20):
I mean, he's a clear sociopath.

Speaker 1 (11:22):
Anyways, there's a lot of weird kind of throwaway lines
in this one when they're talking about the tattoo, and
I think the kind of couple scenes like right after
the the credits roll, what it says.

Speaker 3 (11:34):
There could be something an A lot of girls love Snoopy,
maybe their animal rights activists or future Yalees. Bulldog bulldog
bow wow wow go Yale?

Speaker 1 (11:44):
Why Yale's Why not Georgetown?

Speaker 3 (11:48):
Oh man? What a weirdo? I mean, I know Yale's closer.
It's also, I mean, are we discounting entirely that they
could just be really big Patrick Ewing fans?

Speaker 1 (11:56):
Seriously exactly, like, I mean, that would make more sense
to me. Youings still a legend at New York City
in two thousand and six when this episode was was shown.
I mean, let's see, where do we go from here?
The tattoo parlors.

Speaker 3 (12:10):
The tattoo salon, or whatever the fuck it was. Yeah,
we really need to talk about that.

Speaker 1 (12:14):
How strange was that scene? Oh?

Speaker 3 (12:17):
Yeah?

Speaker 1 (12:17):
Like what? Two?

Speaker 3 (12:18):
So? So the setup for this scene is Danny implies
that she's got some tawdry tats that our filthy minds
will fill in the blanks for. Yeah, yeah, I'm assuming
she's got like a rhymed couplet of like George Byron
on her Labia.

Speaker 1 (12:37):
I said, taint tat question mark.

Speaker 3 (12:39):
Yeah, yeah, but so so then we head off to
the Manhattan version of the tattoo Parlor, which means it's
a fucking hoity toity boutique with some tool rhapsodizing about
his art and the Mona Lisa like sheer white curtains
and strings of white Christmas lights.

Speaker 1 (12:55):
This does not what tattoo parlors look like.

Speaker 3 (12:58):
No, even the convenience store one is much more like
a tattoo parlor, but.

Speaker 1 (13:02):
Still it had tryer sheets. There's a giant wall of
dryer sheets that he's doing tattoos in front of.

Speaker 3 (13:09):
Yeah, but at least I saw it. So then so
then we like as we like. The first shot in
the tattoo parlor is the full back tiger tat with
some generous side boob.

Speaker 1 (13:21):
Yeah.

Speaker 3 (13:22):
Like, this is much more freely risque than sau typically goes,
especially in the context of the skin not belonging to
a victim.

Speaker 1 (13:29):
That is true. Usually yeah, usually they're dead or underaged.
When we see that much skin, they're.

Speaker 3 (13:35):
Yeah, it's it's weird, how disconcerting it was to see
like healthy, non aberrant partial nudity that we didn't feel
disgusting about, Like, oh, you know, it's getting my loins
stirring and I don't feel gross. What's what's going on here?
This doesn't feel like an SBU episode. Okay, so we
need to talk about the second tattooed parlor. Yes, this

(13:57):
episode's like the most like reality mele episode of SBU
that we've dealt with so far, because we've got Michael
Dreyer is getting the tattoo. Michael Dreyer was the first
high schooler on the street two episodes ago that we
watched in Hooked. That's right.

Speaker 1 (14:13):
I was wondering how I recognized that kid.

Speaker 3 (14:15):
Yeah. So, and this is like eighteen months after that
one filmed. Is this one's getting filmed? So it's this
bizarre like what the fuck? How is he back already?
So so this this implies a whole bunch of other
weird things because he's his character's name is Sean, but
this is obviously that same guy who was banging the

(14:37):
VIC and Hooked two weeks ago. Yeah, so he must
have changed his name from Nicky Simms and now he's
shan On the street on account of having contracted HIV
absolutely at sixteen and the stigma attached.

Speaker 1 (14:50):
But that's why he's his love is no longer for
chicks online now it's for his mom.

Speaker 3 (14:56):
No, it's for mo oh god. Also, do do we
think that he disclosed to Lenny that he's HIV positive
because there's a lot of blood that gets drawn in
the in the making of a tattoo.

Speaker 1 (15:10):
Yeah, that's a very ethical quandary, Right, how do you
do uh, how do you do tattoos for HIV positive clients?

Speaker 3 (15:17):
Was was Lenny wearing gloves? I doubt it.

Speaker 1 (15:19):
I doubt it. I you know, he did prison test.

Speaker 3 (15:21):
He's fly by Night.

Speaker 1 (15:21):
Yeah, I didn't notice gloves. Honestly, I didn't notice gloves
at the Fancy Sloon either. I almost want to go
back and rewatch it right now, but not that badly.

Speaker 3 (15:30):
Obviously, we're going to get into the whole other wrinkle
of the show in the second half, where the Wire
is in this universe.

Speaker 1 (15:38):
The whole cast of season four of The Wire shows up.

Speaker 3 (15:42):
Yeah, yeah, it's nuts. So like the Wire operates in
this universe because Munch has been on the Wire as much. Yeah, Like,
so we've got We've got Michael Dreyer popping back up
giving HIV to his tattoo artist to Lenny, which I
feel bad for Lenny. Yeah, then it gets a lot weirder.

Speaker 1 (16:06):
So I have a long running thing about foster care.

Speaker 3 (16:09):
It's super weird. Yes, yeah, it's weird how positively the
foster care system keeps coming across in this. I mean,
she gets like she ends up in a group home,
which is outside of that.

Speaker 1 (16:23):
I would say ACS, which is their version of CPS,
Like the SVU version of Child Protective Services, always comes
off as kind of bad guys, but foster parents in
foster homes always are just like these angelic spaces where
they're very nice, matronly women who are willing to care
for these kids who are not their own and go

(16:45):
above and beyond. I think in one of them they
were gonna help pay for college and let them live
in there.

Speaker 3 (16:51):
We be concerned that they're only showing like the matronly
black women in these roles, and that that is the
only thing that black women. Black women are basically the
like the mother figure or the magical knower of this thing,
like Warner. Within the context of the show.

Speaker 1 (17:10):
I mean we're getting into some like you know, deep
kind of like you know, racial archetypes here.

Speaker 3 (17:16):
You know, there are only certain roles that there that
exist for black women in the SBU universe.

Speaker 1 (17:22):
Sure, and we see we see two extremes in the
course of about thirty seconds right here, because we see
the matronly foster mother who is angelic, she's a saint,
you know. She she talks about how great Chantal was
and what promise she had. And then immediately we go

(17:42):
to her biological mother, who will get to in just
a second, who is the exact polar opposite of that woman.

Speaker 3 (17:48):
But before before we leave, we have to talk about video.

Speaker 1 (17:53):
The video. So there was a cheerleading video. Chantala and
her friends were cheerleaders and they shot this video.

Speaker 2 (18:02):
Girl in the right Ambrose.

Speaker 1 (18:07):
Chantelle loves st Ambrose.

Speaker 3 (18:10):
I enrolled in when I see us placed do with me.
You paid Catholic school tuition for foster.

Speaker 1 (18:14):
ChIL Chantelle deserved every advantage I could give her. She
had so much potential.

Speaker 3 (18:21):
I think it's a lot of screen time, a lot
of screen time. It is on screen for probably two
minutes of this episode. It comes background, Yeah, it comes back.
It doesn't go away and it's it's okay.

Speaker 1 (18:32):
So it's something that beck Will Connie Nielsen identifies with.
We see her watching it on her free time when
she could be going out to get a beer with Stabler.
She's watching that video.

Speaker 3 (18:45):
So it's just shitty camcorder cheerleading video. It shows no
actual cheerleading skills of any sort. I get this was
done by the second unit, but takes some pride and
let this girl show her talents. We also need to
be concerned with the fact that costumes couldn't afford a
third shirt to make it look like this home video

(19:05):
wasn't shot on the same day as the pawprint tap photo.

Speaker 1 (19:07):
It was confusing. It was confusing. It was the same shirt,
wasn't it.

Speaker 3 (19:12):
Yeah, Like, this girl doesn't get a credit. This girl
does not get a credit because she doesn't have a
speaking line. Let her wear a third fucking.

Speaker 1 (19:20):
Shirt seriously, and let her say something like you hear
go chantal gas chantal goes in the background, but it's
not her saying it. She looks like a robot. It
was disturbing.

Speaker 3 (19:31):
They brought in, They brought in some of the production office,
some of the females in the production office into the
into an edit bay and had them do that for
like they weren't getting paid that that background noise, the
goa chanal gas chantal, that was that was surely just
production staff. They did not pay someone.

Speaker 1 (19:50):
But I could get making such a awkward, poor piece
of filmmaking if it's gonna be on screen just in
the background for ten seconds and I have to do
like a hard pause to see that it's going on.
But this is getting serious screen.

Speaker 3 (20:08):
Time God, because it's on. It's on in the reflection
of a door, uh huh, It's on on the screen
on the TV in the in the foster mother's.

Speaker 1 (20:18):
Home, we watch it for about thirty seconds.

Speaker 3 (20:20):
On that screen in the office for so long, for.

Speaker 1 (20:23):
So long in both of those scenes like one at
the foster parents mother's home, we see it for a while.
And then when when Connie Nielsen is like, you know,
wistfully watching it and you know, thinking about all the
poor girls out there that are being victimized, you know,
we like are forced to think about this ridiculous wooden

(20:43):
video for for far too much.

Speaker 3 (20:46):
And the weird thing is that they do more in
this episode to humanize Chantal than they do in almost
every other episode where a victim is a victim turns up,
they almost never humanize the victim and they try to
hear and then this is what they give us.

Speaker 1 (21:00):
I know, especially I know it's something sorry. So the
other extreme for what black women are allowed to be
in the SVU universe comes out immediately after the foster
mother scene, because we come to the welfare mom, who
is the biological mother. I was shocked at how racist

(21:23):
this scene was, and not from a like you've got
a hick saying racist things to somebody, but how racist
the character was written by Law and Order SVU and
how this cleared edits This cleared a writer's room, This
cleared the show creator. I was shocked.

Speaker 3 (21:41):
Yeah, this mother is so derelict in her duties as
a mother that her fucking what four or five year
old son is on a razor scooter.

Speaker 1 (21:51):
It's a welfare razor scooter.

Speaker 3 (21:53):
Elliot has to fucking save him from getting creamed by
a truck.

Speaker 1 (21:59):
It was as it wasn't a truck.

Speaker 3 (22:02):
It wasn't Taurus, okay, but Elliott has to like pull
this kid from going over the curb right in front
of a car, Like okay, so so she's clearly the
worst mother ever. It's amazing she chose her molester boyfriend
over her daughter. It's pretty safe to assume that her
molested boyfriend and her two children are dead at this point, right,

(22:23):
don't you want you? Where's your boyfriend now? At work?
It wasn't arrested cow no ACSA.

Speaker 2 (22:36):
He couldn't live with us, so I told him to
take her.

Speaker 3 (22:39):
You picked your boyfriend over your daughter. I wasn't gonna
put Ricky out over her livees. So what happened to
chantal Acs?

Speaker 1 (22:48):
Sent it to a group home.

Speaker 3 (22:50):
Look here, if that place let my baby get killed?
You think I got me a lawsuit?

Speaker 2 (22:55):
Is that all you care about?

Speaker 3 (22:57):
Making money? Else your dead daughter's body.

Speaker 1 (23:00):
Let's get out of my.

Speaker 3 (23:01):
Say, what do you what do you think her actual
cause of death? And so I had I had a
few ideas as to how the whole family would die.
I assume that it'll either be a cigarette catching the
couch on fire, botulism from a dented can nice, or
they managed to be four of the handful of Americans

(23:23):
who get the bubonat plague every year.

Speaker 1 (23:26):
But I like those theories. Those all work for me. Man,
that scene was problematic, to say the least. So we
go to the group home and there's a very kind
of like another kind of classic SBU trope with acs.

Speaker 3 (23:41):
My note here, My note here at the group home
is just so many under fives in this episode. Like
they burned through featured background with like two lines. Yeah,
like they burned through them so fast in this episode.

Speaker 1 (23:56):
There are so many, so many speaking roles in this
it's amazing, but.

Speaker 3 (24:00):
They're all under fives. Yeah, Like they're definitely keeping it
in line with a budget, but they're just burning through.

Speaker 1 (24:10):
But I was thinking about the guy who runs the
group home being kind of a guy, a really kind
of not implied pedo running this group home for girls.
But yeah, we see like they talked to like six
different girls there, and so this is when we realized

(24:30):
that it might be more about teenage prostitution. Then we
go to the open air hooking market. Let's talk about that.
So I live in a town where I've seen prostitution
on the street on occasion. It's never fifty fourteen year
old girls lined up on like a one block. You know,

(24:55):
there's like one lady and you're like, what is she doing? Oh,
that's what she's doing. Or there's like a CD hotel
where the door opens and closes from time to time.
This is like Hamsterdam, but for a hose. Basically yep.

Speaker 3 (25:12):
But I mean we didn't live in New York in
two thousand and six, so maybe.

Speaker 1 (25:15):
This is just what it was, like what was done.
It's true, And I gotta tell you this is pre Craigslist, right,
This was two thousand and six, and Craigslist was shut
down in twenty eleven. I know that because of my research.
So this was probably just before the dawn of the

(25:35):
like the the high period of online prostitution. Excuse me,
now we get another kind of We get the Connie
Nielsen backstory right before they go to bust up this
open air prostitution market. The uh every one of these
cases will break your heart thing from Elliott where he
kind of offhandedly suggests that his thirteen year old daughter

(25:58):
is you know, the same age as all these hookers,
and it doesn't seem to visibly upset him, even though
it visibly upsets him in most of the episodes where
he talks about his kids. This one, he guess kind
of like tosses it off and whatever.

Speaker 3 (26:12):
Well, he has to be the Stabler.

Speaker 1 (26:14):
It's true. That is true.

Speaker 3 (26:16):
Her backstory is that her husband was a cop he
died in the line of duty, and she was a
Warrens cop and then she asked to move over to SVU.
This is her fifth of sixth episode. So in the
first episode of the season, Benson ends up getting pulled
into this weird undercover gig where she has infiltrated the

(26:40):
Earth Defenders group in Oregon, And like Marcia Gay, Harden
has pulled her into this, so she's in deep cover
having infiltrated this group ris hell. Yeah, Yeah, she's under
deep cover. And then her her case is solved in
the episode that before this one, which is why Benson

(27:02):
has the one scene.

Speaker 1 (27:03):
Yeah.

Speaker 3 (27:04):
But really, what's happened is that they filmed the episode
six after the Connie Nielsen episode that comes next nice,
and then repositioned it nice.

Speaker 1 (27:16):
I just have my next note written in all caps
it is tramp stamp stopping frisk because I was hooting
at this scene. So they're at the open air prostitution market.

Speaker 3 (27:28):
Oh god, they're staked out in a fucking conversion van. Yeah,
and she can't fucking take it anymore and she just
has to go fucking rouse to everybody.

Speaker 1 (27:37):
Oh, I say, Nielsen is a shitty cop, just like Live.

Speaker 3 (27:42):
Well much much much worse. Yeah, Jesus Christ. Like she
doesn't even understand how police work works.

Speaker 1 (27:50):
Yeah, I mean, I don't think this woman would would
pass the psychic val like because you know, it just doesn't.
I mean, with the backstory, it just doesn't seem like, Oh,
this is the person I want to be a police
officer in New York City. Of course, I guess lots
of people past that. Still, she goes and uh, it
kind of blows their little steak out because she walks

(28:11):
up to these girls and so they have to kind
of line them all up against the wall. And while
the chicks are lined up against the wall, Connie Nielsen,
Detective Beck goes from each one and just looks like,
does a butt crack check of every single hooker down
the line. I was screaming when that was happening, man.

Speaker 3 (28:34):
Just such bad police work. And she finds the fucking
that Paul Prance on Belinda Holt, who was played by
Charlie Ray, who is actually fourteen here, really this actress
is actually fourteen, which she looks at me as super problematic.

Speaker 1 (28:51):
Oh yeah, oh yeah, I said, these chicks are so young,
what monsters? Right? This shit it's like, oh.

Speaker 3 (28:58):
God, it's really off. So so fucking Belinda's favorite movies
Pretty Woman. They get her back, they get her back
to the precinct, and the jacket that she's wearing on
the street is somehow nowhere to be seen.

Speaker 1 (29:13):
Yeah.

Speaker 3 (29:14):
Uh. And and so she she's wearing a white jacket,
like she's wearing a white leather jacket on the street.

Speaker 1 (29:21):
In the precinct. She's showing a lot of skin.

Speaker 3 (29:24):
Yeah, it's really fucked up. She's wearing basically just a
halter top. Yeah, it's it's uh, it's gross.

Speaker 1 (29:33):
Yeah, she's a child. And we're talking about her pimp
and her being a prostitute. Eventually we talk about her
being topless on the beach in the d R uh oh.

Speaker 3 (29:43):
Yeah, and Stabler makes a reference to that, which is weird.
I don't want to think about that. There's but okay,
so when when they are I guess they're interrogating her,
but they're not. I mean, she's not really been convicted
of a crime or anything, but they're they're talking to
to try to figure out where Victor is and Connie

(30:05):
Nielsen takes off her hooded sweatshirt and gives it to
this girl. It's like, did we didn't think through the
continuity of this at all?

Speaker 1 (30:16):
Yeah, that she had a jacket.

Speaker 3 (30:18):
She had one. She was wearing a jacket when you
picked her up on the street. Wears a jacket. We
never see that jacket again, Like, it can't be evidence.

Speaker 1 (30:29):
Right, it looked expensive, honestly.

Speaker 3 (30:33):
Maybe the Yeah, it must be seized property or something.

Speaker 1 (30:36):
I guess. So Belinda lets them know that those three girls,
who she calls her sisters were adopted by a rich guy.

Speaker 3 (30:46):
She knows that his name is Blake, and she's able
to say what car he drives, some fancy European car
he drives. They are like eight Blake's first or last
names that drive this vehicle. And then there are three
who have a what f avenue address? And so there
they narrow it down to the one who has like

(31:06):
a little bit of a record and was arrested but
not charged with like a domestic domestic disturbance or something.
So so it ends up being Ulysses s Grant from
Hell on wheels.

Speaker 1 (31:23):
But so I so they find this guy Blake Peters.
He's like a lawyer, and they find a news article
about him.

Speaker 3 (31:32):
I love this.

Speaker 1 (31:33):
Finn is reading the news article, which is not what
the actual article on screen says.

Speaker 2 (31:37):
Oh yeah, mister Blake Peters enjoys tennis, polo and watersports.

Speaker 3 (31:42):
Preferably with underage girls. So when when Elliott says that, well, really,
when both of them say that, I was just sitting
there stunned and thinking, this guy. By standards and practices.

Speaker 1 (31:58):
You're allowed to say watersports on SVU.

Speaker 3 (32:02):
This got past s and p at NBC. Man like
the implication if you're for those who are not filling
in the gaps that Adam and I are filling in.
The implication here is that Blake Peters pisses on underage girls.

Speaker 1 (32:16):
Or that he gets underage girls to piss on him.
There's too odd either way.

Speaker 3 (32:21):
Watersports are games involving piss.

Speaker 1 (32:30):
The article that he's reading, though, is nothing to do
with that. It's actually I don't know how they found this.
It's an article clearly from a Canadian newspaper about US
military having to do a cleanup on a site that
had been used by the US military during World War Two.
In ninevut one hundred kilometers southeast of Sullivan Island. Now

(32:53):
Blake Peters. We track him down. He is in a hotel.
It's weird because there's so much going on in this episode,
but some of the best parts and some of the
best actors are given relatively little time on screen.

Speaker 3 (33:05):
I think, I mean, okay, so now we need to
talk about the fact that Candy is Constance Wu.

Speaker 1 (33:10):
Yeah, well that's what I'm getting to. So it's kind
of this like strange like side quest. We go find
Blake Peters at this hotel. He has a underaged college girl,
Candy in his room.

Speaker 3 (33:22):
Well she's nineteen.

Speaker 1 (33:23):
Yeah, she's not criminally they.

Speaker 3 (33:25):
Think, Yeah, they think she's under age, but she is
of legal age. She's nineteen for her idea and her
real name is Candy. Yeah, so her parents predestined her
for a life of prostitution.

Speaker 1 (33:36):
And she says she wasn't hooking. But I don't know, man, No,
I think there was an implication derangement. Yeah, like, yeah,
maybe she didn't realize she was hooking, but Blake Peters
was definitely gonna pay her when he left.

Speaker 3 (33:47):
But yeah, this is Constance Wu. This is her third credit.
I don't know if this was actually the first thing
she booked, but this is her third credit on IMDb.
Constance Woo of course is and she's the Tiger Mom
and fresh off the boat. Yeah, she's in Crazy Rich Asians.

Speaker 1 (34:01):
Yeah, lead in Crazy Rich Asion, sure is.

Speaker 3 (34:03):
She's in Hustlers, sharing top billing with with Jennifer Lopez. Like,
this is Constance wu and it's super fucking weird because
she is in a complete throwaway part.

Speaker 1 (34:13):
Like this part did not need to be It could
have easily been cut out, and probably the only reason
they couldn't cut it out is because they didn't have
enough Michael K. Williams like time available. You know, they
only shot they.

Speaker 3 (34:25):
Only had one day of Constance Wu here.

Speaker 1 (34:27):
Yeah, clearly exactly. Okay, So they're looking at his knuckles,
which are really fucked up. His knuckles are like abused,
and they think from the Civil War, understandably that he
beat the shit out of three underage prostitutes. But no,
he says it's because he has to work on his
seventy two Ferrari daytona spider. Now, I'm not a huge

(34:49):
car working guy, but every time I've done it, you
might get a scrape, but I don't have knuckles that
look like I just went twelve rounds with a teenage prostitute.
He did look really fun.

Speaker 3 (35:00):
It's one of those things. It's one of those like
whenever i'd work on whenever i'd work on like the
Grand Wagon Era or the Caddy, Yeah, my hands wouldet
fucked Okay, I'd almost always cut my hands. They'd always
be dirt like that, the black from the black from
everything on the engine would like be impossible to get out.

Speaker 1 (35:20):
Okay, So I could.

Speaker 3 (35:20):
See where maybe maybe that stands to me.

Speaker 1 (35:24):
I get where you're coming from. Josh. Now, your Caddy
was a beautiful car. I know you had to hold
up the glove box with duct tape, but your Caddy
was not a nineteen seventy two Ferrari Daytona Spider. Do
you know how much this car cost? It costs three
point three million dollars nowadays.

Speaker 3 (35:42):
But no one else can touch his car. You won't
let anyone else touch his car.

Speaker 1 (35:45):
Yeah, but if you have that car, you don't fuck
up your knuckles working on it. You have precision parts.
It is pristine. It probably lives in a bubble. It
like it's in like a you know, a negative pressure
bubble so that no dust gets on it.

Speaker 3 (36:00):
Is this the car that Cameron's dad has in Feris
Feeler's day office.

Speaker 1 (36:04):
No, not exactly. It's similar, but not exactly. It's a
beautiful looking car. There's one at auction on Sotheby's right now.
Don't think you can afford it, sadly? Or oh no,
I take that back. It was available in twenty fifteen.
They are fairly uncommon cars, gorgeous, though much better than
the current models. So then we just drop this guy.

(36:25):
He's gone forever. Benson does a little walk through on
the show, which seemed forced and strange. Okay, so Benson
walks into the precinct office, kind of looks around, wistfully,
walks up to Connie Nielsen and talks to her like
she doesn't know who her replacement is, and also like
Connie Nielsen doesn't know what Olivia Benson looked like when

(36:48):
she was a legend.

Speaker 3 (36:49):
Name drops her in the episode?

Speaker 1 (36:50):
Does name drop her? Yeah? Like it would be one
thing if she didn't know who she existed at all,
But she brings her up a few minutes later.

Speaker 3 (36:57):
Doesn't she say? You're precious Benson.

Speaker 2 (37:00):
Can't do anything you say?

Speaker 3 (37:01):
So, but don't spy on me.

Speaker 2 (37:02):
I'm not your precious, Olivia, I know that, but I'm
a good cop.

Speaker 1 (37:05):
So why don't you trust me the same way I
trust you? I do.

Speaker 3 (37:07):
I want to introduce you to Sister Peg.

Speaker 1 (37:09):
She runs an outreach program for Hooker's six workers. Eliot,
I don't know, man, very strange, awkward scene, Like I
would kind of get it if they just left her off.

Speaker 3 (37:17):
Well then there. It's an awkward scene also because right
after that, Benson's in Craigan's office and she sees Elliott
come up and like sort of semi affectionately like put
his hand on her shoulder or something, and Benson's eyes
bug out. She is so jealous.

Speaker 1 (37:32):
Oh yeah, big time. He was doing the like massage
therapist guy greeting, you know, coming up giving her a
little a little neck squeeze, one of my favorites.

Speaker 3 (37:39):
Both know who you're talking about there, all right? Anyway,
so we we have this dumb moment where it's like
Danny and Elliott feeling each other out sort of yeah,
and like she really pushes back on Elliott, saying that
Peters basically doesn't have it in him.

Speaker 1 (37:59):
Yeah, way he.

Speaker 3 (38:00):
Threw up after he saw the bodies. Yeah, like, this
guy doesn't have that in him, and she pushes back
way too much. Here does not seem right, and then
she gets super defensive, like five seconds later when she
sees him looking in the window into the bunk bedroom
that all the cops sleep in sometimes. Yeah, for the
fuck that's called She gets super defensive when we get

(38:22):
that beautiful tilt up from fucking Belinda tilt up to
Elliott's like disembodied head in the window of the door.
I laughed so hard when I saw him there. And
then she's super Pissed's like, you don't trust me to
like interrogate a suspect or whatever.

Speaker 1 (38:39):
I think it's normal that you kind of like, are both,
you know, paying attention to the interrogation that's going on.

Speaker 3 (38:45):
Right, Yeah, it's it's your partners. Yeah, it's both of
your case.

Speaker 1 (38:48):
Hasn't Stabler been doing this for more than eight years
because he was the senior detective and episode one.

Speaker 3 (38:55):
He and Benson's were partners for thirteen years. Yeah, so
he they like Jnsen, got to the unit about a
year before the beginning of season one. Yeah, but Stabler
is a senior detective here exactly on the unit obviously longer.

Speaker 1 (39:07):
He's a career sex crimes investigator. This is what he does,
career sex crimes enthusiasts. Yeah, I would listen to this guy, right,
like if I started a new job like investigating rapes
and murders and prostitution, Like, I would listen to the
guy who's been doing it for at least fifteen years.

Speaker 3 (39:28):
Right.

Speaker 1 (39:29):
It seems like an ex play.

Speaker 3 (39:30):
The Resistance just doesn't make any sense. No, So right
after this, we go to Victor's Pad with Venice.

Speaker 1 (39:36):
Vennis Jones house. I love Venice Jones. She is Joanna
ryan Hart. She doesn't have any like huge credits. She's
been in a few things, but I thought she gave
an inspired performance as Venice Jones. There is so much
going on in this house. There's a zebra print rug,
There are like scepters and potion bottles all over the house.
There are Ganessh and Krishna painting on the walls. There's

(39:59):
like a giant he and salt rock on a stand,
and there's a tea kettle on display. It's basically like
a poorly stocked headshop is what Venice Jones' house looks like.
I was kind of surprised I didn't see like one
of those pewter dragons on one one stand somewhere. There's
all kinds of weird shit in there, and in the
middle of this room, kind of everything is framing this sofa.

(40:22):
It is all eyelines are drawn to it, and it
is easily the shittiest looking thing in the entire house.
It looks like it just got dragged out of an alleyway.
It's like dingy. It's got a kind of gross you know,
throw rug thrown over it. It's really gross. And everybody's
looking at the couch the whole time they're in there.

(40:43):
You want to talk about the couch, because this is
a this is a great entrance.

Speaker 3 (40:46):
I want to talk about the couch. Sheck mostly, So
they start sort of like doing like an ocular patdown
of the place Minnis's house, and Danny goes up to
the fucking couch and does the worst cushion check that
I've ever seen anyone do while trying to see if

(41:07):
there's a weapon. She doesn't like her her fucking cushion
brush down is.

Speaker 1 (41:15):
You're awful, you know, awful. I haven't had a hide
to bed in quite some time, and I don't remember
exactly what. You know, the consistency of the Hida bed
is without a mattress inside, you know, because the mattress
kind of holds up the cushions right when it's when
it's all folded in, and so I don't know what
putting a you know, five eleven one hundred and seventy

(41:39):
five pound man in there would due to the consistency
of the cushions on top, you know what I mean.

Speaker 3 (41:46):
Well, the cushions are pretty thick on the couch, which
is my biggest My biggest question about what the fuck
Danny was thinking when she did the first check is
the cushions are very like, they're very thick cushions. They're
probably like five six inches.

Speaker 1 (41:58):
Yeah, it feels out into those.

Speaker 3 (42:00):
Yeah, yeah, you feel down, You really feel down into
the cracks, and you lift the fucking cushions up to
check underneath to see if there's anything in there. I mean,
it seems very obvious that like, Okay, they've got Michael
Kay Williams, He's not gonna be in this fucking couch,
like like this is the workaround that they came up with.

(42:22):
You can't check the couch too well, because it's gonna
be super fucking obvious that Michael K. Williams isn't under there.

Speaker 1 (42:26):
Oh but I mean it was set up for this
because the couch is kind of like hovering in the
middle of this room. It's so awkward that this couch
is right there. Uh, it's got to be the couch.
And anyways, finally Venice refuses to sit down on the
couch when they want to interview her, and so they
open up the couch and out pops legend of the

(42:46):
screen Michael kay Williams Omar Little Star of Boardwalk Empire.

Speaker 3 (42:52):
Oh man, well, I mean this is he's still on
the wire at this point.

Speaker 1 (42:57):
Yeah, no, this was this was right after season This
was while season four was airing, so shortly after shooting
stop for season four. I think season four started airing
in September two thousand and six. This episode was aired
in November two thousand and six, so this was kind
of right after.

Speaker 3 (43:15):
Coincidentally, in the action between season four and five, Omar
has gone to Puerto Rico exactly.

Speaker 1 (43:22):
I thought about this too, and they talk about him
going to the Dominican Republican this there's a.

Speaker 3 (43:26):
Lot of other weird, So yeah, that's all subterfuge. She's
really going to Puerto Rico. We also need to talk
about the fact that Omar, in between the goings on
of season one and two, has left for New York
because he needs to go on the run. Because who
did he shoot at the end of season one? Well,
he killed Stinkum, Yeah, but he fucking shot webe who

(43:47):
was naming Bryce's father?

Speaker 1 (43:48):
That's fucking right, whoa so.

Speaker 3 (43:52):
Naming Bryce knows that this guy's a legend on the street,
presumably because he fucking shot his dad is now in prison,
and then he like takes his assumes his identity to
spring him. This doesn't make any sense because this is
again as we've established in the Wire universe, so we
know that this is Omar. I don't know why Omar

(44:14):
is pimping in New York.

Speaker 1 (44:15):
Reality is melting Omar.

Speaker 3 (44:16):
He's a stick up man, and he's a stick up artist.

Speaker 1 (44:19):
Seriously, he's a stick up guy. And and this is
kind of changing my views of Omar little because he
clearly can wear a tie and he has no problem
tying it up perfectly. In this episode, he is well quaffed.

Speaker 3 (44:32):
It is consistent that he does not get shaken by
the police.

Speaker 1 (44:36):
No, I know, he's I mean so good. He's like
at the height of his powers in this. He's way
too good for this episode. Like every scene he's in
he's like acting three times as well as everybody around him.

Speaker 3 (44:49):
Yeah, he's so he's so wasted in this like ultimately
not very interesting party. He doesn't even show up until
the last half. And again, this is season four of
The Fucking Wire is airing at this point. Omar is
fucking Omar.

Speaker 1 (45:04):
I mean he's so good. He's like, you see my
rap sheet. I ain't no virgin. I know how the
game is played. And it's like, yeah, we know, you
know how the game is played.

Speaker 3 (45:11):
Omar, I ain't no virgin. Why not the game is played?

Speaker 2 (45:15):
You come in here, start hollering, probably beat me down,
and my attorney comes in and I walk.

Speaker 1 (45:22):
I don't think so, chantal Monique Amber.

Speaker 3 (45:26):
You killed him? Now?

Speaker 1 (45:29):
Why would I kill them? Pretty young things?

Speaker 3 (45:31):
You feel me? I love my girls. Got a funny
way of showing him, making him screw strangers so you
can buy your huggy bed threads there. Oh no, I
never made a woman do nothing. She don't want to do,
but now the things they do for love? Yeah, Like
I want to see him eat some honey nut, you know,
Like I want to see him go to the store
whistling farmer in the dell picking up honey knot. That's

(45:53):
what I want to see.

Speaker 1 (45:54):
In this episode, we also find out that he's a
former Golden Glove and he has some scars on his knuckles,
and I was like, my note was I thought he
was Omar. I didn't think it was Avon.

Speaker 3 (46:05):
Yeah, they're really they're really mixing the mythology of Omar and.

Speaker 1 (46:10):
Oh funny thing. So when they go to that bar
right before the really awkward Connie Nielsen Stabler makeout scene,
did you notice that? So Diane Neil Casey Novak gets
called away by Marcus, who's her real life husband's kind
of throwaway factoid.

Speaker 3 (46:25):
Yeah, they divorced him twenty fourteen, but yeah, yeah, yeah,
he's that's that's her husband.

Speaker 1 (46:31):
Irl Man Dabler says some really awkward things about the
child Belinda, who's a child in this episode.

Speaker 3 (46:39):
Literally this girl is fourteen.

Speaker 1 (46:41):
Yeah, and he says she's not a child anymore. Once
they're pulled down by the street, they're capable of anything disgusting.

Speaker 3 (46:49):
Well, that's to explain away the possibility that maybe she
did jump Sister Peg.

Speaker 1 (46:54):
Yeah, I guess, but Sister Peg outweighs this small child.
Sister Peg obviously has you know, seen some shit, because
every time Sister Peg shows up in SVU, something terrible
happens to her. She will eventually get murdered on an
episode of SVU.

Speaker 3 (47:12):
Yeah, this is her eight. This is her seventh of
eight episode.

Speaker 1 (47:14):
Yeah she she is another time abducted by a self
proclaimed psychic. Like she's basically abused in more than half
of the episode she's in in SVU, and she's in yeah,
eight episodes total.

Speaker 3 (47:30):
Neither of us want to talk about the makeout scene
by the jeeps, so let's just move past.

Speaker 1 (47:33):
No, it's it's it's horrifying. I am going into this
without remembering all of the details of these characters backstories,
like I trying to tend to block out the backstory episodes.
So I don't know where Elliot is in his married life.

Speaker 3 (47:47):
He's separated, he's cecarated, and he's about to I believe he.
I believe his wife gets pregnant at the end of
season eight when they have reconciled, but at this point
they are set.

Speaker 1 (47:58):
So Galvius and has recently been a place where a
lot of people, mostly from the Houston area but from
the general region have been coming since the beach opened
back up. So people that want to go party on
the beach they come down here. In particularly, there's this
one area that's not in the city. It's it's a
kind of outlying area. It's called Bolivar, and you have

(48:19):
to take a ferry to get their. Very beginning of
this where the kind of pro Trump beach rallies were occurring,
and there's a kind of guy that was going to
those and I'd see them because there'd be a traffic
jam to get onto the ferry and it'd be single
middle aged man in a jeep with nobody else in
the jeep. You know, most of the other cars are
packed with people, but nobody else in the jeep, all

(48:42):
the windows down blaring, you know, music from forty years ago.
But like, I'm the cool guy going to the beach field.
Oh yeah, absolutely, Ario Speedwagon whatever. Elliott totally strikes me
as one of those dudes like his kids. Kathleen.

Speaker 3 (48:57):
I'm sorry, I'm sorry that I just made you have
to drop an Rio Speedwagon into the CUI.

Speaker 1 (49:02):
Oh dude, yeah, you know. I've seen Orio Speedwagon plate
perform live. One of my prouder moments.

Speaker 3 (49:08):
I've seen Eddy Money.

Speaker 1 (49:09):
Hey, that's fucking badass, dude.

Speaker 3 (49:11):
That can't happen again.

Speaker 1 (49:12):
But uh, yeah, Stabler is totally going to a Trump
rally on the beach alone to try to pick up
women because his friend, his kids don't talk to him anymore.
That's uh, that's Stabler in twenty twenty. Anyways, back to
the show. This is when we get the even more
mind melting appearance from a Wire cast member when Boating escapes.

(49:38):
Victor Boating escapes from prison completely Improbably they don't really
like get deep into this scheme that they have because.

Speaker 3 (49:46):
Well, he's still he's still in jail at this point,
He's not he's not even at Rikers.

Speaker 1 (49:50):
Yeah, he's he's in lock up awaiting transfer to Rikers.
And somehow Victor was able to exchange identity with none
other than Naman Bryce. That's Julito McCullum from a most
famously from my perspective from season four of The Wire,
but he's spent in a bunch of other stuff as well.

Speaker 3 (50:11):
He got a good uh he got a good foster
parent too, Yeah, he sure did.

Speaker 1 (50:15):
Yeah, it worked out pretty well for him, considering.

Speaker 3 (50:17):
That that ship bird.

Speaker 1 (50:19):
I consider he's the one kid that doesn't like have
a tragic story, and he's kind of.

Speaker 3 (50:25):
The one that also doesn't deserve it.

Speaker 1 (50:27):
I know, well, I know that's that's how fate works, man.

Speaker 2 (50:31):
All Right.

Speaker 1 (50:32):
Eventually they find out that Victor has escaped from prison, right,
and so they go track him down back at Venus Jones,
Venice Jones' house. Now, Venice Jones is wearing the same
outfit that she was wearing the day before. They couldn't
give her a different colored vlower track suit?

Speaker 3 (50:51):
Could I just give her a different top?

Speaker 1 (50:53):
Serious, exact same like. They clearly just filmed this scene
thirty seconds after they stopped filming the previous scene.

Speaker 3 (51:03):
Because because Victor Bodine has gone in front of the judge.

Speaker 1 (51:06):
Yes, it's been a week, Well.

Speaker 3 (51:11):
That was just a raiment.

Speaker 1 (51:12):
That was okay, yeah, probably the next day. It's at
least been twenty four hours though, But Elliott says to her.

Speaker 3 (51:19):
What are you talking about? It is on the run.

Speaker 2 (51:21):
But he went to a lot of troubles to take
Belinda with him.

Speaker 3 (51:24):
That's skanky, little hoe. I guess he thought she'd.

Speaker 1 (51:27):
Look better than you. Topless weird pause.

Speaker 3 (51:30):
On the beach in the dr man wants quality I
candy on his own when he's sipping on a rum
and coke. It's my trip, he promised me.

Speaker 1 (51:38):
Now, Elliott clearly was like reading his lines off of
like there was like an pa in the corner holding
up the lines, right, because.

Speaker 3 (51:46):
I bet his sides, his sides. There's like a line
break for that, yeah, yeah, yeah, yeah, yeah, that's clearly
where the page broke. Yeah, well, but that would happen.
The page break wouldn't happen. And unless there's a unless
there's I mean, assuming Scripty is doing everything Scripty's supposed
to be doing, the page break wouldn't happen midsentence.

Speaker 1 (52:09):
I know, but it's there. That was a weird pause
that was not explained. I guess, just a choice, I guess.
So they're still talking about a girl who is in
real life fourteen years old.

Speaker 3 (52:22):
Yes, yeah, talking about her and the character. Both the
character and the actress playing the character are fourteen.

Speaker 1 (52:28):
She tells him that he is aloft in Williamsburg. They
go there, who leaves their luggage like with the door open,
you know, like the luggage blocking the door to keep
it open so that you could then slap around your
underage girlfriend before you're leaving town. Very strange to me,
especially in New York City.

Speaker 3 (52:46):
Yeah, but this is a really nice loft. Yeah, should we?
I mean, I think we need to talk about what
the fuck's going on? Where this isn't just where he
always is.

Speaker 1 (52:54):
That's what I'm saying. Why is any Why does he
go to Vannis Jones' house to begin with? What's the
point of this?

Speaker 3 (53:01):
Yeah, it's it's nuts. It doesn't make anything.

Speaker 1 (53:03):
It's a huge loft. It looks like Avon Barksdale's loft
from the wire, you know, after he and Stringer start
investing in real estate.

Speaker 3 (53:13):
Him having this loft in the loft being this nice
and this not being where he is at all times
is just nonsense.

Speaker 1 (53:19):
And I think that's kind of a metaphor for this
entire episode, because.

Speaker 3 (53:25):
Yeah, is that this is all just nonsense. It doesn't
make sense.

Speaker 1 (53:27):
There's there's a lot of great parts in this episode,
you know, particularly Michael Kay Williams, but a few other
good parts. You know, sister Peg is always good and
yeah and always has like kind of has an interesting
through story through the whole thing. I noted that she's
like the wokest person in the show because she says
sex workers Elliott.

Speaker 3 (53:45):
Kind of a yeah, because he calls them hookers.

Speaker 1 (53:46):
I think, yeah, exactly, he either calls.

Speaker 3 (53:48):
Them hookers or prostitutes, and she's like.

Speaker 1 (53:50):
It was more hateful than prostitutes he called I think
it was hookers or whoes. He might have even called
them a whoes.

Speaker 3 (53:56):
I don't think he said.

Speaker 1 (53:57):
Again, they're talking about fourteen year olds though, so yeah,
but she says sex workers Elliott. Anyways, she's always good,
you know. A lot of the bit parts were fine. Like, honestly,
all those the girls in the group home, they were
all kind of awesome. They all gave really great lines,
and it really does not add up to the son
of its parts. It's I think it's because it really

(54:17):
heavily leans on the Beck character, which is it just
didn't need to happen.

Speaker 3 (54:23):
Yeah, there there wedgend too much Danny Beck backstory into this.
That's really what the issue.

Speaker 1 (54:28):
Is because I guess they're trying to set us up
for you know, caring about her when she's off the
show for good after the next episode.

Speaker 3 (54:35):
My concern with this episode mostly is that they've completely
put Schantal in the corner.

Speaker 1 (54:40):
Yeah, nobody puts Chontal in the corner.

Speaker 3 (54:42):
Except for the sv writers. Yeah, they have no she
doesn't get a line, and she's on screen.

Speaker 1 (54:48):
So much, you know, it's really it's really funny.

Speaker 3 (54:51):
They did her up to have her be dead. Then
they took more photos.

Speaker 1 (54:55):
So they did two. They did two setups for her, right, she.

Speaker 3 (54:58):
Had two outfits. Yeah, uh because she's not wearing shockingly
two outfits because she should have had three. They did
this whole second unit shoot with the cam quorder. But like,
she doesn't she doesn't get a line.

Speaker 1 (55:12):
And I really think that kind of tramp stamp, you know,
like tiger mark thing could have featured more prominently in
the second half of the episode, Like, you know, why
does he need to brand his girls? Like, you know,
it's not like a normal thing for a pimp to do, right,
I've never seen that before. What didn't happen in Pretty Women?
Uh woman?

Speaker 3 (55:31):
Well, Pretty Women is the sequel that Louisa may Alcott wrote.

Speaker 1 (55:34):
Yeah, exactly.

Speaker 3 (55:39):
Uh so my thinking, and why Omar would be going
by James Victor Bodine here is presumably because he's probably
a pretty big Thomas Pinsion fan.

Speaker 1 (55:51):
That's what I was going to say, is the boating
a pension reference?

Speaker 3 (55:54):
Is this all pig boating?

Speaker 1 (55:56):
Yeah? Is this so? Is this actually a thing where
they are knowledging how warped reality is in this episode?

Speaker 3 (56:03):
And I assume so, and the writing staff's probably huge,
huge Pension fans.

Speaker 1 (56:07):
Yeah. So in reality, then we're not watching a show
that's about Danny Beck coming to grips with the fact
that she's not cut out for this. We're watching a
show where Danny Beck is us seen how reality is
fully warped in on itself, and she is the kind
of you know, neo character from the Matrix being red

(56:29):
pilled and seeing how warped reality really is. Where multiple
long running TV shows can intermingle with each other and
come out with such a kind of average poor result.
I want to get back to Michael kay Williams because
in the final scene, the kind of chase through that
strange warehouse, he's still acting the shit out of that role,

(56:49):
Like he throws that girl over the like through a
glass window and over a railing with like so much for.

Speaker 3 (56:56):
Something there's not a glass window. It's just oh, he.

Speaker 1 (56:58):
Breaks a glass window. That's what it is. He breaks
the glass window to get in there. But like, yeah,
he's selling it to me, like through that girl, and
then he goes out with such a whimper.

Speaker 3 (57:08):
It's it's sort of a shot reminiscent of the end
of John Wick. Yeah, only John Wick lives and well
Omar lives too until next season.

Speaker 1 (57:16):
Yeah exactly. I mean that's the sort of it's maybe
it's a you know, prescient in a way because Omar
kind of goes out with a whimper as well in
season five of The Wire. Yeah, yeah, it's a it's
a little it's a little bit of a let down
considering how much we care about him at this point. Now,
I just can't wait till Brother Moves On makes an
appearance on SVU, and I'm hoping that comes soon.

Speaker 3 (57:37):
It does happen, it does excellent, pretty sure. I'm pretty
sure Brother Mozone's on it. I do have one last note, sure,
sort of about location where they find chan Tal in
the beginning. Yeah, didn't it seem like since this is
in the wire universe that they should have like a
Harper police McNulty here, seriously, man, who's like, who's who's

(57:58):
sending them the tied and what side and current maps
to tell them where the body came from.

Speaker 1 (58:03):
They discussed the currents, you know, and there was a
bridge in the background. It was the Brooklyn Bridge. It
wasn't the whatever the bridge in Baltimore is. I think
we can get to rating this thing. So every week
we rate these episodes. We do it on a variety
of criteria. We have four different criteria that we use.
It's similar to an Olympic figure skating rating, where we

(58:26):
have different criteria and then we find a composite score
based on that. So we do a one through ten scale,
one being bad, ten being great. On quality, the guests
involve how problematical it was and how ruined the people's
lives involved were. On those last two, problematic and lives
ruined are good things, kind of ironically, and that does

(58:46):
lead it lend itself to some subjectiveness, because there is
good problematic and there is bad problematic, And I guess
let's start there. Because this episode is definitely problematic. It
is super problematic, highly problem Yeah, between the.

Speaker 3 (59:02):
Topless reference at the beach of Dr.

Speaker 1 (59:05):
Well, just how sexualized these fourteen year olds are in
this episode from that the outdoor hooking hamster dam market
that's going on.

Speaker 3 (59:15):
To the mother enabling the molester boyfriend.

Speaker 1 (59:18):
Yeah, oh no, and like how racist the portrayal of
the welfare mom. That's highly problematic. Yeah, so it's gotta
score high on that. I don't know where we put
it because it's not good.

Speaker 3 (59:32):
Problematic, it's not hooked well, I think it's it's so outlandish.
It's gotta be acism part. The racism part isn't fun.

Speaker 1 (59:42):
But it's so cartoonish. I mean it's just like you
have to you're watching, you're going like, how on earth
was this okay? You know, this is two thousand and six.
It's not like it's not like nineteen fifty four or
anything like that. Like it is cartoonish.

Speaker 3 (59:56):
Races Well, and Elliott has to be reminded by sister
Pegna called prostitutes prostitutes that they're sex workers.

Speaker 1 (01:00:02):
I know when he's been a sex crimes detective for
fifteen years.

Speaker 3 (01:00:07):
Right, and we have the like it's hilarious that we've
got the wokest none ever being the being the voice
of reason without Yeah, I was no, no, it can't
because because it's not fun enough on the problem.

Speaker 1 (01:00:23):
Lie exactly, It's not like hook ten has to be
extremely fun, and this was not really fun at all.
It was. It was at best like really gross, uh
and really awkward.

Speaker 3 (01:00:32):
Yeah, I mean it's still it's still got to be
pretty high though, it's got to be like like a
six or seven. Yeah, six or seven.

Speaker 1 (01:00:39):
I'm saying seven. So let's so seven for that one
because it was high, but it wasn't fun. Let's talk
about the lives ruined in this episode, because I think
there's actually quite a few. Yeah, Chantal, Chantal is dead,
and so are the other two girls.

Speaker 3 (01:00:55):
Belinda's fucked.

Speaker 1 (01:00:56):
Belinda is fucked. I mean in like Belinda's story about
we didn't even talk talk about this, Oh about her stepdad,
about her stepdad crawling into bed with her and her
other little babies in running around the house like that
whole family is fucked. All of those girls in that
hooker lineup their lives. They were all like thirteen, fourteen
years old. Every single one of them was a child.

(01:01:18):
Fucking Naman Bryce, He's not gonna gucked He's not gonna
get saved by a nice foster parent. He's going to heal.

Speaker 3 (01:01:25):
His best hope is that he's hoping. His best hope
is that he shares a cell with Weban.

Speaker 1 (01:01:29):
Seriously, if he's not in the same prison that Webe's in,
horrible things are going to happen to him. So I

(01:01:55):
would say a lot of people's lives are ruined. I
don't know, maybe Venice.

Speaker 3 (01:01:59):
Venice is cash flow is gone, and his.

Speaker 1 (01:02:01):
Cash flow is gone. Michael K. Williams is obviously dead.
Connie Nielsen is scarred and probably not going to be
a good Detective's got blue ball? Stabler's got big Yeah.
I I described this in The Dick Wolf, but Stabler
had some very blue balls at the end. He's worried. Okay,

(01:02:22):
I'm gonna take a little aside here because the final
shot of this episode just was cracking me up. I
watched this twice. Stabler is wearing the baggiest jeans at
the end of this episode. They almost look like like
fucking Jenko's here. He's standing there after having just been
turned down by Connie Nielson, who is out of his league.
Let's be honest, no offense Maloney. Connie Nielson, she was

(01:02:45):
in She is a fucking babe, she dates rock stars,
she's a pape.

Speaker 4 (01:02:51):
Yeah, but I mean he was with he was with
the vice president. Okay, Selena Myers, Okay, she was with
Lars Ulrich Bra in real life.

Speaker 3 (01:03:03):
Yeah, he's stayed where. He's pretty awesome.

Speaker 1 (01:03:06):
I mean, state looks pretty cool.

Speaker 3 (01:03:07):
He has some have you seen his ass?

Speaker 1 (01:03:09):
He had some baggy fucking geens.

Speaker 3 (01:03:10):
These jeans, well, he needs he needs those baggy jeans
because of how cut he is. His ass probably cut
through three other pairs of jeans.

Speaker 1 (01:03:17):
I'm saying you could see his running shoes that he's
wearing at the bottom of those jeans, and the jeans
are like four times as wide as the running shoes.
It was a comical Jinko situation. No wonder she didn't
want to sleep with you, Bra anyways. So yeah, he
has blue balls. Who else we got ruined? That foster
mom is probably never gonna have a foster child again.

(01:03:40):
Sister Peg was in the hospital. That can't be.

Speaker 3 (01:03:43):
Good well, and the racist welfare mom she has kids.

Speaker 1 (01:03:50):
Oh, Blake Peters, the guy with the Ferrari Like he's
gonna have problems with his wife after that arrest. And
it's gonna be hard.

Speaker 3 (01:03:57):
He's gonna have a weird conditioned response every every time
season underage prostitute. Now he's gonna throw up.

Speaker 1 (01:04:02):
It's gonna be hard to hold on to the three
point three million dollar ferrari. Oh. I know another thing
we didn't mention in the problematic thing. We didn't mention
Finn pulling the black card. When they were at the
law office interviewing the associated.

Speaker 3 (01:04:15):
Getting shot down at the law by the by the yeah,
the intern or whatever.

Speaker 1 (01:04:19):
Yeah, exactly. Also kind of awkward. He asked the intern
for some help and used he said, help help her
brother out, and the guy said, if I don't get
this done accurately immediately, I'm the one out of a job. Brother.
Like that. Not cool, honestly, because the guy was just

(01:04:40):
doing his job and actually being very forthcoming with information.
There's no reason to shit on that. Dude.

Speaker 3 (01:04:47):
Yeah, he wasn't being withholding it all.

Speaker 1 (01:04:49):
No, Okay, So, how many people's lives are rud It's
above average, but not like.

Speaker 3 (01:04:53):
This, probably either like six or something.

Speaker 1 (01:04:57):
Yeah six is good. I mean really most people those
lives aren't ruined irrevocably in this episode. Right, there's a few,
but most of them at least you could see it's
possible they might come back someday.

Speaker 3 (01:05:10):
Yeah.

Speaker 1 (01:05:11):
Next, let's get to the guest performances. I think this
is where the episode really shines. Michael Kellett Williams is amazing.
He's really great. Julito McCullum was great in his part.
Sister Peg is great. Most of the small parts were
really good.

Speaker 3 (01:05:25):
Now, Blake Peters was good. Now I mean.

Speaker 1 (01:05:30):
Victor really Yeah, Victor Sleeves, he was good.

Speaker 3 (01:05:33):
He was good as Blake Peters. Yeah. I think it's
generally pretty good across the board. I had some problems
with with Charlie Ray or Charlotte Ray Charlotte Ray Rosenberg,
which I don't know how much of that's her.

Speaker 1 (01:05:47):
Melinda, they asked her to do a lot for a
child actor, and it's it's not kind of like material
that probably child actors should be comfortable doing.

Speaker 3 (01:05:57):
So Yeah, and how is she going to access what's
she going to access for this?

Speaker 1 (01:06:01):
Yeah?

Speaker 3 (01:06:01):
You know, she's basically been like at this point, she
was the romantic lead in some kid movie with she
had her first kiss with Josh Hutcherson. Yeah, like right
before this, and then she has one other credit before this.
I mean, it's like, what are you asking a fourteen
year old to do? Here?

Speaker 1 (01:06:16):
What they're asking her to do is watch Pretty Woman
and think that that's what being a prostitute is.

Speaker 3 (01:06:21):
Like. It's like she's been, she's been on the street.
She knows that's not what it's like.

Speaker 1 (01:06:25):
I mean, you think they could at least have her
watch a taxi driver, you know, and see what at
actual teenage prostitute. Even that is not I don't know
as brutal as what they're making this girls go through
in this episode, but it's a little bit more true
to life than this shit is.

Speaker 3 (01:06:42):
Yeah.

Speaker 1 (01:06:42):
Now, I would say there's a glaring hole in this
guest section depending on how you.

Speaker 3 (01:06:49):
Connie Nielsen's Yeah.

Speaker 1 (01:06:50):
Fit Connie Nielsen into the SVU universe, Like is she
a cast member or is she guessed?

Speaker 3 (01:06:56):
I mean she's recurring cast, but it's six episodes, Yeah,
it's I mean I think she has to factor in
this section here.

Speaker 1 (01:07:03):
Yes, because it is a Connie Nielson episode. We cannot
get around that. Yeah, and that's going to really hurt
the next section because what could have been so good
with these really fun performances. And I think in mech
Okay Williams instance, like he's great. He's only on screen
for like he's on screen for less than five minutes,

(01:07:24):
and he is great the whole time he's on but
it can't it has to tamp it down.

Speaker 3 (01:07:30):
Yeah, I mean they misspent. They misspent Michael Kay Williams
big time.

Speaker 1 (01:07:34):
Like even if they only had him for a day,
they could have he could have been in the whole
episode in small scenes throughout the day, right, but they
really didn't.

Speaker 3 (01:07:41):
So they misspent him. And they spent a lot of
time on danny back backstory that's ultimately irrelevant because she's
off the show in the next episode and they knew this. Yeah,
So I mean that's a big ding on the guest
star part and on the overall rating part.

Speaker 1 (01:07:56):
I want to give the guest star part a five though,
because those other because like Okay having the mind warping
wire intrusion into.

Speaker 3 (01:08:04):
The world, I think it's higher than a five, even
with her Okay, because there's so much and like almost
of the entire periphery.

Speaker 1 (01:08:11):
Yeah, I'm kind of melding these to these two categories together.

Speaker 3 (01:08:14):
I think the overall quality is probably a five because
of all the back stuff.

Speaker 1 (01:08:18):
Yeah, and because it's so.

Speaker 3 (01:08:20):
The episode's the plot so poorly balanced.

Speaker 1 (01:08:23):
I'm gonna say it's I'm gonna say the overequality is
less than a five. But let's stay with guests. I
could go seven or eight.

Speaker 3 (01:08:29):
I'd go seven.

Speaker 1 (01:08:30):
I think, yeah, that works. I mean it makes sense
they're there. They were really good performances in there, even
if the one who gets the most screen time was
not great and really like they could have written her
character differently. She has a noticeable Danish accent. That's fine
if you make her Danish.

Speaker 3 (01:08:47):
Yeah, but don't have her do like an.

Speaker 1 (01:08:50):
NYC you know, cop wife who decides to take vengeance
on her fallen partner.

Speaker 3 (01:08:56):
Have her on loan from the Copenhagen police department.

Speaker 1 (01:08:59):
Dude. It's like I've seen so many, you know, Scandinavian
noir shows that are based on that premise, where like,
you know, nerdy British guy and hardcore Danish lady get
together to solve crimes.

Speaker 3 (01:09:12):
Yeah, I mean there's there is the guard.

Speaker 1 (01:09:14):
Yeah, there is the bridge.

Speaker 3 (01:09:17):
Yeah, the bridge, the original bridge Braun or whatever it was. Yeah,
the original Danish Swedish comed There's.

Speaker 1 (01:09:24):
So many of these. I mean, the one I watched
most recently was called Trapped. It's an Icelandic show, really
fucking great, really great, and she could have been in
that and it would have made sense. But have her
be Scandinavian, because that would make sense. All right, Josh,
let's get to the quality of this thing. I really
thought this episode was a muddled mess of trying to

(01:09:44):
do too much and not really doing any of them.
That well, I'm giving it like a three because it's
it's not good. It's not even average because it puts
all that shit in there. It's not terrible, but it's
not average.

Speaker 3 (01:09:57):
No, it's not terrible. And I mean, I mean we've
already rated it for the things that were done well, yeah,
but like as far as an overall episode just concerned,
it's not very good. You know, they waste all the
like brain melting shit is all wasted in a mess
of an episode.

Speaker 1 (01:10:12):
Yeah, I mean it. And this kind of does make
a composite score. The composite score and this one is
five point seventy five, and it does kind of make
it where I feel it should lie. Yeah, because like exactly,
Michael K. Williams alone being in it is makes it
a really good episode. And there's yeah, and the problematic
stuff in it makes it stand out, like the portrayal
of the welfare mom was really makes it stand out

(01:10:35):
in my mind.

Speaker 3 (01:10:37):
Yeah. I mean there are very few actors who I
want to watch pretty much everything they do, and Michael K.
Williams is one of them.

Speaker 1 (01:10:44):
He's great, I mean really in this In this one,
he really stands out how much he brings to the table,
Like how believable all his movements and lines are. It
is great. It's worth it alone just for that.

Speaker 3 (01:10:55):
On paper, his character really isn't that much different than
Vance Dennis. Yeah, but this is what happens when you
have a great actor doing doing a cardboard cut out
of a character.

Speaker 1 (01:11:06):
Yeah, exactly. So Yeah, I mean this was all right.
It wasn't again, it wasn't great, but it was worth watching,
you know, definitely definitely was not the worst episode we've
seen so far.

Speaker 3 (01:11:16):
Oh, far from it.

Speaker 1 (01:11:16):
Far from it.

Speaker 3 (01:11:17):
I mean it's not. It's not like a thunder, yeah,
you know, which has nothing going for it. Oh gone,
baby gone, baby dot gone. Yeah, it's not one of those.
It's not one of those episodes. Like there's especially if
you're a fan of the Wire, there's a lot to
enjoy here. Yeah, there's a lot of how because of
how nuts it is, and because the Wire is in

(01:11:40):
the again, it's in this fucking universe. And they have
two character, two characters in this from the Wire who
are basically playing their characters.

Speaker 1 (01:11:49):
Yeah, though they're basically they're absolutely playing their characters.

Speaker 3 (01:11:53):
Yeah, yeah, they have they have name and Bryce Omar
a little munch. We've also got Diane Neo playing her
second character in the SVU universe. Yeah, we've got fucking uh,
we've got what Michael Dreyley.

Speaker 1 (01:12:06):
Yeah, playing his second character, Yeah, playing.

Speaker 3 (01:12:09):
His second character in three episodes. Amnch my dnsit Like
we're talking two episodes ago. He was in an episode.
So like this is like a brain melty, like a
brain melty. It is a delicious mess.

Speaker 1 (01:12:23):
Yeah, it is a froth of mess and.

Speaker 3 (01:12:25):
Here yeah yeah, oh yeah, there's a fro.

Speaker 1 (01:12:29):
Oh man, I couldn't. All I'm thinking about watching Julida
McCullum on screen is like, man, just cut off your hair, man,
and the cops wouldn't have caught you jumping the turnstile.

Speaker 3 (01:12:40):
Fucking fucking name.

Speaker 1 (01:12:43):
Okay, let's we've been doing this for far too long.
Let's roll the dice for the next episode. I'm gonna
I'm pressing the buttons right now for our randomizer, and
it's giving us episode two oh one. That is episode
eighteen from season nine. It's called Trade.

Speaker 3 (01:13:04):
Trade per IMDb. The episode involves a wealthy, successful coffee
trader and his son, who are both suspects in a
young woman's murder when evidence suggests that the woman was
sexually involved with both men. This episode features Stephen Collins,
the dad from Seventh Heaven. Oh it features Matthew Davis,

(01:13:27):
who played Alaric in Vampire Diaries. Yeah. I vaguely remember
this episode because of Stephen Collins, and if I remember correctly,
it's pretty insane.

Speaker 1 (01:13:41):
Well cool, that should be fun. We'll see you next
week then with that one guys. Until then, you know,
munch My Benson.

Speaker 3 (01:13:47):
And lunch My Bets all three beauty Ball and move

(01:15:02):
just check us out a top put just to embarrass.

Speaker 1 (01:15:04):
And go back to you.

Speaker 3 (01:15:07):
Back to you. Sorry, Mike, there it is shut.

Speaker 1 (01:15:15):
All of beauty Ball and movee ba

Speaker 3 (01:15:21):
Back to you.

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18 - Tramp Stamp Stop and Frisk (S8E7 Underbelly)

Episode Transcript

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