After uncovering key evidence, McCoy and Price seek justice against an international crime ring, but complications threaten the outcome of their case.After uncovering key evidence, McCoy and Price seek justice against an international crime ring, but complications threaten the outcome of their case.After uncovering key evidence, McCoy and Price seek justice against an international crime ring, but complications threaten the outcome of their case.
Pasha D. Lychnikoff
- Daniel Rublev
- (as Pasha Lychnikoff)
Storyline
Did you know
- TriviaThis episode marks the crossover of three Law and Order franchises. Dick Wolf first proposed a cross-over for Law & Order (1990), Law & Order: Special Victims Unit (1999), and Law & Order: Criminal Intent (2001) which centered on a terrorist's plot and a ticking time-bomb scenario. It was nixed when terrorists hijacked the planes that brought down the Twin Towers on September 11, 2001.
- GoofsThe case against Rublev falls apart because Nicole Merrick is too afraid to testify in open court, she is the only other living person who can corroborate the video's authenticity. However the law allows for a witness to testify in a secret, closed session when there is reason to believe their life would be in danger because testifying in open court and their identity being known. In this instance the witness testifies in front of just the judge and the jury, no one else, to keep their identity secret, their testimony is then read back by the court reporter in future parts of the trial if needed, while keeping their name secret. This has been done in previous episodes, and it is done in real life, often time to protect the identity of undercover police officers. But this option is not even considered here.
- ConnectionsFeatures Killer Instinct (2013)
Featured review
Nauseating
Monsignor Grand Duchess Queen of the Morality SuperDuperUberUltraBenson sends a key witness away without checking with anyone -- not her superiors, not the D. A., not the Mayor -- and faces exactly no repercussions.
This is yet another example of the standard "make Benson look good no matter what" silliness that SVU has adopted.
It gets worse. One difference between old Law and Order and new Law and Order is the writing and acting were so good in the former, you felt the emotional drama of the moment. In sharp contrast, the writing and acting of the latter is so bad, over-the-top music must be played every time something putatively dramatic happens. Watch for yourself and compare. Or, better, don't watch.
But this third of three installments lumbers about to tie up the loose ends from the previous two. And there are many. We start with the murder of an underage prostitute/sex trafficked victim and end up with some big Russia conspiracy. The ADA who looks like a young garden gnome keeps getting undercut by the one who looks like AOC, and it seems less like a professional legal team and more like the life directors of a second-rate college dorm. Their expository arguments seldom seem rooted in legal strategy and more in the moral dilemmas that the viewer should be able to figure out on their own, another difference from the earlier incarnations.
Some other things:
1) There's a big push to have Black officers on Law and Order now, significantly more than in the past. On the one hand, that's a nod to diversity 30 years too late. On the other, the Asian American population is about 60% that of African Americans in NYC . . . And yet you don't see anything near that representation. This isn't 1950.
2) The police are increasingly being presented as do-gooder therapist types rather than cops. Their job is to catch the criminals. It's not to be social workers, and yet the touchy-feely dialogue and presentation is nauseating, not just because it's so phony but because it even further distances the presentation of police as anything fallible. In an age where real police are shooting unarmed suspects and choking people to death, the fantasy pandering here is offensive.
3) You can tell the writing staff for all these shows are recycling SVU scripts since no matter the show, a sex crime or gender harassment in some form or another is at heart.
4) Everyone has aged considerably. Meloni looks 10 years older than last season, and Hargitay desperately needs a new hairdresser. With her stringy hair just hanging around her face, she looks like she's given up.
This is yet another example of the standard "make Benson look good no matter what" silliness that SVU has adopted.
It gets worse. One difference between old Law and Order and new Law and Order is the writing and acting were so good in the former, you felt the emotional drama of the moment. In sharp contrast, the writing and acting of the latter is so bad, over-the-top music must be played every time something putatively dramatic happens. Watch for yourself and compare. Or, better, don't watch.
But this third of three installments lumbers about to tie up the loose ends from the previous two. And there are many. We start with the murder of an underage prostitute/sex trafficked victim and end up with some big Russia conspiracy. The ADA who looks like a young garden gnome keeps getting undercut by the one who looks like AOC, and it seems less like a professional legal team and more like the life directors of a second-rate college dorm. Their expository arguments seldom seem rooted in legal strategy and more in the moral dilemmas that the viewer should be able to figure out on their own, another difference from the earlier incarnations.
Some other things:
1) There's a big push to have Black officers on Law and Order now, significantly more than in the past. On the one hand, that's a nod to diversity 30 years too late. On the other, the Asian American population is about 60% that of African Americans in NYC . . . And yet you don't see anything near that representation. This isn't 1950.
2) The police are increasingly being presented as do-gooder therapist types rather than cops. Their job is to catch the criminals. It's not to be social workers, and yet the touchy-feely dialogue and presentation is nauseating, not just because it's so phony but because it even further distances the presentation of police as anything fallible. In an age where real police are shooting unarmed suspects and choking people to death, the fantasy pandering here is offensive.
3) You can tell the writing staff for all these shows are recycling SVU scripts since no matter the show, a sex crime or gender harassment in some form or another is at heart.
4) Everyone has aged considerably. Meloni looks 10 years older than last season, and Hargitay desperately needs a new hairdresser. With her stringy hair just hanging around her face, she looks like she's given up.
helpful•1816
- bkkaz
- Sep 23, 2022
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