#gina calabrese

[doesnotloveyou]

Miami Vice ~ S1E09 "The Great McCarthy"

[mitochondriaandbunnies]

Miami Vice S2E4: Out Where the Buses Don't Run

An ex-Vice cop with a strange and troubling affect chases down a purportedly deceased dealer.

Fuck, this is a good one. This is one of those episodes that reminds me why I consider the second season of Vice to be one of the all-time greatest seasons of television. It's in turns funny, disturbing, and heartbreaking, and provides another window into the ways the corruption and ineffectiveness of the justice system chews up and destroys people on both sides of the law.

The episode opens with some very fancy roller skating set to The Who's Baba O'Reilly; Manuel, the skating drug dealer, is played the recently departed Scott "Slo-Mo" Randolph, who was not an actor but, in fact, a skater, and one of the founders of the Central Park Skate Circle

Rico is 100% checking Manuel out

Manuel's customers have.... Outfits

When Hank, the ex-Vice cop who Rico describes with the episode's title, shows up to demonstrate his surveillance of Sonny and Rico, the entire Vice squad is like "who the fuck is this guy," except Rico, who takes one of the surveillance photos and tells his partner, "Heyyyy, Crockett, this is a good one of you!"

Rico sometimes you are a downright unserious man

To that end, he doesn't really see Hank's behavior as particularly dangerous, just "weird;" when Sonny suggests that Hank is a "nutcase," Rico's retort is, "yeah, maybe he even keeps a pet alligator at his place of residence." Sonny, who senses that something is deeply amiss, does not find this crack funny.

This is another "what is a partner and what do they mean to you" episodes, although more subtly so until the real thematic gut-punch at the ending. However, when Sonny and Rico are trying to get background information on Hank, their exchange is simply: "If *I* flipped out one day... Who's the first person you'd talk to?" / "...me."

Hank's behavior is borderline cartoonish-- he's a Marx Brother in a Hawaiian shirt. The first time you watch the episode, your first reaction may be bafflement, a sense that this episode is tonally "off" from the rest of the series, and too silly overall, until you get to the big reveal. You may find yourself agreeing with Rico and thinking that Sonny is overreacting in his caution regarding Hank. However, watching the episode a second time through, Hank's behavior becomes downright sad, and it becomes clear that Sonny instinctively knows this from the get go.

Rico comes to visit Sonny and confirms that they shared the same dreams the previous night, a lovely little tally in the favor of Vice being magical realism at its core. Sonny mentions the colors in his dreams, to Rico's surprise-- he dreams in black and white. This both reflects Rico's old-fashioned, Rat-Pack-esque sensibilities, and serves as a metaphor for another magical realist aspect of the episode-- Sonny has hunches and premonitions throughout (directly described as "ESP") that Rico does not share.

Some Wonderful Sonny Moments: he has no idea how a computer functions ("you can do that with a computer??") and waters Elvis like a plant in this episode

Fucking clam juice

It's hard to get stills of the chalk drawings in Hank's... hovel(?), but I felt it was worth trying:

I wish they were a bit easier to parse, but some of the readable text says, over a triptych of what looks like doors, a man opening a door, and a man exploding is, respectively, "Take your pick--," "And the winner is--," "Not you, Buddy!" There is also a knife fight, someone in a beach chair, a liquor bottle labeled XXX, someone shooting from a boat labeled rat-a-tat, a diner, a saxophonist, and a large number of other things I simply cannot read because the camera is focused on the figures instead of the backdrop.

Either way, I think this particular shot:

Is the turning point where this goes from a "sort of silly" episode to "uh-oh."

Then there is a moment about halfway through the episode where Hank-- who is at best so traumatized he has had a break from reality and at worst actively delusional-- and Sonny, and Rico, who are being set up as possible inheritors of not only his madness but of the-soon-to-be-revealed fierce and self-destructive loyalty to one's partner that might cause you to do something like cover up a murder and bury a body for someone-- are all seated the same way, on furniture that isn't for sitting. Hank and Sonny sit on a pair of desks, and Rico sits perched atop a bookshelf like a he's half-detective, half-vulture. Castillo, who has a fairly rigid internal moral code, is standing with his feet firmly planted on the ground. He is unwilling to step foot into Hank's world in the same way that Sonny and Rico are. In contrast, Hank, Sonny, and Rico are all disconnected and ungrounded, in uncommon and potentially uncomfortable places, waiting for someone else to make a decision.

When another of Sonny's "premonitions" comes true, Hank says "you guys are starting to sound crazy." Okay Hank. Just you wait until the raw meat and wheat flour facial episode in S3.

Sonny is just fucking CHAIN SMOKING in this one. Seems like he might be a little stressed or something.

When the stakeout and arrest that Hank sets up (a scene that is bright and clean and crisp and immaculately shot, and yet utterly haunting and oppressive) goes right-- the dealers really are exactly where and when he expects them to be-- there's a moment of, "oh. Okay, Hank may be crazy, but he was right. That's what this episode is about-- the stresses and rigors of the job made him crazy, but he hasn't lost his instincts as a cop, and is still on the side of right." And then it dawns on you that there's still ten full minutes left in the episode, right around the time Hank starts completely flipping out because Arcaro isn't there. The audience is made party, in a way, to Sonny's so-called ESP-- it's crystal clear nothing good is going to happen from here on in, because we've watched enough Vice by this point that we know we're not getting a happy ending at the 3/4ths mark of an episode.

A related thought-- the front half of this episode is not particularly creatively or beautifully shot, but the back half is almost painfully so. This, too, feels like a purposeful use and subversion of the Vice formula-- we're almost lulled into the sense that this is going to be a bad/boring/standard police procedural episode by the seemingly workmanlike camera choices, and then suddenly reality is heightened and saturated and almost too much, and it's clear we're in for something outside of the ordinary.

There's an extended sequence of Rico and Sonny night driving that comes just before the final reveal that is achingly painful when you know what is about to happen. The song that plays over the sequence is Dire Straits' Brothers in Arms, and it is played nearly in its entirety. It's worth going and looking up the full lyrics on this one, because while it was written about the Falkland Islands, it's disturbing in its aptness both for the way a wartime mentality so often also infects cops, and its discussion of the bonds between those who've undergone trauma together.

It's a bit hard to see because it's a very long shot, but I think that a black cat and an orange cat saunter up to greet them Rico and Sonny as they walk up to the abandoned building Hank asked to rendezvous at. I have no idea if these cats were actors or actual strays, but there's something very lovely about the moment either way. Are these cats also partners?

ha ha ha ha you would also bury someone behind a wall for your partner sonny ha ha ha ha you're no different from these men uh oh oh no

[miami-vices]

Olivia Brown and Saundra Santiago as Trudy Joplin and Gina Calbrese (Miami Vice, S1E11: Give a Little, Take a Little, 1984)

[inthewindtunnel]

Gina Calabrese

The Afternoon Plane

First Blood

Gina Calabrese

-album-

[haveyoulistenedtothisalbum-poll]

Tracklist:

Nobody Lives Forever • The Afternoon Plane • When Irish Eyes Are Crying • Back In The World • Blood And Roses • Tale Of The Goat • Missing Hours • First Blood

Spotify ♪ Bandcamp ♪ YouTube

[iloveitxwhenaplanxcomestogether]

What does Gina think of Hannibal??

"What do I think of this Colonel Smith?" Gina carefully parrots the inquiry posed to her. The Vice Cop's eagle eyes linger upon his file unamusedly.

"A fugitive-- is-- a fugitive." There's no waxing the moon poetical commentary that she can afford to give on his behalf. "What?" She cants her head to the side briefly. "Am I supposed to be impressed, just cause he has some flare for the dramatics?" She returns, handing the other their manila folder back. "Sure, the guy's orchestrated a few miraculous escapes," Gina reasons, "I'll give him that much but, he'd better not come to Miami. He might just find himself in a spot he can't get out of--" Though it would be quite interesting to see who would get best in a battle between John Hannibal Smith and Lt. Martin Castillo.

[solo6677]

Heartbreaker. From lawyer to biker.

In the cold, unforgiving world of criminal justice, where the line between right and wrong is often blurred, there stands a beacon of hope and justice. Elizabeth Hart, a young and ambitious Assistant District Attorney, has built a reputation as a formidable force against crime. With her sharp intellect, unyielding determination, and unwavering moral compass, she has put away countless criminals, earning herself the nickname Heartbreaker for her ability to shatter the hopes of those who dare to cross her path.

But who is Elizabeth Hart, really? Beneath her stern exterior and no-nonsense attitude lies a complex and multifaceted woman. She is a daughter, a sister, and a friend, but above all, she is a warrior for justice. Driven by a deep-seated need to make the world a better place, Elizabeth has dedicated her life to the pursuit of justice, often at great personal cost.

As Elizabeth prepares to take on her next case, she can't help but wonder if she's truly making a difference. With each victory, she sees new crimes committed, new criminals emerging, and new victims suffering. The weight of her responsibilities bears down on her, and she can't help but feel that she's fighting a losing battle.

But Elizabeth Hart is not one to back down from a challenge. She is determined to continue her fight for justice, no matter the cost. And so, she asks herself, What more can I do to protect the innocent and bring the guilty to justice? The answer will lead her down a dangerous path, where she will face her greatest challenge yet and discover that the line between right and wrong is not always as clear as it seems.

She was very instrumental in helping put away some of the biggest mobsters in town, even becoming known as Heartbreaker, just because she would break the hearts of her enemies by putting them away.

Of course, none of this sat well with Gina Calabrese, who had been hearing about her for years now. She knew Elizabeth had put her father away, and that made her want to seek revenge.

When she learned Elizabeth was coming to her territory to prosecute another case, she decided to try and get rid of her once and for all. She gathered her best henchmen and told them what to do. The “Heartbreaker” was going to see life in a different way.

Elizabeth Hart walked out of the courthouse after a long day of work, she never suspected that her life was about to take a dramatic and dangerous turn. She was ambushed by members of the notorious mob, who had been watching her every move. They overpowered her, drugged her, and took her to a seedy biker bar on the outskirts of town.

When Elizabeth woke up, she found herself in a world that was completely foreign to her. She was surrounded by biker women, who exuded an aura of danger and lawlessness. They made her a drink, which they forced down her throat and before she knew it, she was feeling the effects of the drugs that had been slipped into her drink.

Over the next few days, Elizabeth was subjected to a series of hypnosis sessions and given a special concoction that slowly began to change her from the good-hearted Assistant District Attorney to a seductive, law-breaking biker. They gave her a new name, Lizzy, and taught her how to ride a motorcycle, how to fight, and how to use her sexuality as a weapon.

As the transformation took hold, Lizzy became a different person. She was no longer the straight-laced, no-nonsense prosecutor; she was now a sexy, rebellious biker who wanted nothing more than to break the law and live life on the edge. She had sex with any woman biker and she drank and partied like there was no tomorrow.

Lizzy got tattoos, piercings, and even changed her hair and clothing style to fit her new identity. She was unrecognizable to those who knew her before, and she reveled in her newfound freedom and power.

But as she lost herself in her new lifestyle, she also gained something she never expected: love. Her mentor, Scarlet, introduced her to the pleasures of lesbian sex, and the two of them became inseparable.

One day, Lizzy stumbled upon a file that contained all of the details of her transformation. She read through it in shock and horror, realizing that she had been drugged, hypnotized, and brainwashed into becoming someone else. She was not a biker by choice; she had been turned into one against her will.

But by then, it was too late. Lizzy was a biker through and through, and she could not imagine going back to the life she had before. She left her past behind and embraced her new identity with open arms.

After a few heists, Lizzy and Scarlett were ready to start their lives together as the leaders of a new biker gang. Lizzy even went back and made sure she got the same concoction that turned her into a biker bitch and brought some of her old friends from the law enforcement into it.

From that moment on, she was a true daughter of the road, living each day as if it was her last. For the first time, she felt truly alive, and she wouldn't have it any other way. She refused to let anybody get in her way, and her and her biker group, known as the Heartbreakers, would cause terror in the town for years to come.

[timeguardians]

roleplay history

the rules are simple! post characters you’d like to roleplay as, have roleplayed as, and might bring back. then tag people to do the same. please repost, don’t reblog!

current-ish

i'm just going to list a few of my current muses on this blog that i'd love to have more interactions for —

Eddie Janko (Blue Bloods)

Rose Dewitt Bukater (Titanic)

Diana Prince (Wonder Woman &WW*84)

Peggy Carter (Agent Carter predominantly with au versions of Captain America, Captain Carter)

Lucy Chen (The Rookie)

I have a large muse list, feel free to consult it.

past

I never realized how many muses I wrote in the past I thought I still wrote as 98% of most of them.

Snow White (disney)

Jane Porter (disney)

Lady Marion of Knighton (BBC Robinhood)

Shar of Archenland (Narnia)

Gael of the Lone Islands (Narnia)

Aravis (Narnia)

Peter Pevensie (Narnia)

Maureen Stabler (Law and Order)

Kathleen Stabler (Law and Order)

Lucy Preston (Timeless)

Jiya Mari (Timeless)

Judy Hoffs (21 Jump Street- original only)

Jon Baker (Chips - original only)

Frank Poncherello (Chips- original only)

Officer Stacy Sheridan (TJ Hooker)

Gina Calabrese (Miami Vice)

Trudy Joplin (Miami Vice)

Izzy Moreno (Miami Vice- part time menace)

possible future

Chaniya (CTU agent)

For Rose @avictimofthejazz--- Kate Carter

Female Special forces OC

Michelle Tanner (Full House & Fuller House)

Moana???????????????????? (Disney)

thanks to @everythingheard for tagging.

Tagging: @bruz3r @brucieboy297 @brotherhoodwarlord @ssolessurvivor @ghosts-of-gotham @takealookintomyeyes3 @multiversalshenanigans @writingsinashes & @lightwxlkr &&& anyone else who wishes to take part.

[modern-old-sport]

rough draft ramblings

a snippet of something i'm working on, an analysis of Miami Vice as noir storytelling. this is the absolute roughest of rough drafts so it makes absolutely NO SENSE but i had to get something out.

THE DEEP SADNESS OF MIAMI VICE

Palm trees, all-night parties, fast cars and fast women. To think of just cars and clothes is selling this show short. Hidden beneath visuals ripped from the glossy pages of Vogue, lies the profound sadness at the heart of Miami Vice. 

We’ll begin with Sonny Crockett. Cool, suave Sonny. You mean the divorced dad who lives on a boat? The one who drives a Daytona/Testarossa that belongs to the department? The one who doesn’t get to see his son very often? The Sonny with a long string of relationships, none of which end very well. Especially not his marriage to Caitlin…  

Right from the first episode we get a peek into the turbulent emotions concealed underneath that crisp white blazer. “Caroline, it was real, wasn’t it?” Crockett is searching for something to ground himself with, after learning that his former partner has been giving up information to the drug dealer they are chasing, and another partner killed in a meet gone wrong.

Ricardo Tubbs arrives in Miami looking for his brother’s murderer. Already not off to a hot start. In his search for revenge, Rico meets Calderone’s daughter Angelina. When she appears next, almost a full season later, it's revealed that the two of them have a son. Both Angelina and Rico Jr. are killed by Angelina’s brother at the end of the episode, in an attempt to get revenge. 

Sonny, as Burnett, attempts to kill his partner. Even though his attempts are not successful, it’s hard to imagine their relationship returning to normal after that. Hard to go back to working with a guy on the street and have eachothers backs when you think your partner experienced a mental break and turned to the other side. 

No one is exempt from the sorrow. The best example in my opinion is found in Lieutenant Martin Castillo. Every episode that centers his story seems to have someone that he is close to dying or leaving. To find out that the wife you thought had been killed is not only alive, but in your city, then to visit her and realize that she’s married to someone else and has a son with that husband? (The women of Vice are frequently used as plot points in someone else’s story rather than being their own full characters, but we’ll save that for later.) Add to that having to kill your longtime best friend? I would like to think he has a therapist and that they are paid well, because that’s a lot of pain.  

Zito’s tragic death, Stan’s gambling addiction, the list seems never-ending. Even Gina and Trudy, who are too often relegated to the sidelines or the background, take their turn. Gina Calabrese has been sexually assaulted TWICE while undercover. Trudy Joplin and her experiences in the episode “Hell Hath No Fury”, or during her first officer-involved shooting.

All this and more contribute to the overall noir aspect of Vice. Noir films feature themes of crime, corruption, greed, and guilt, to name a few.  

[doesnotloveyou]

the scene where gina's date cancels so she charmingly asks sonny if he wants to come over for dinner and he's like *shrug* "sure" and continues to chaw on a cold candy bar, and gina's like "better than nothing."

is he? is he, gina?

[msvito]

Miami Vice (1985)

[mitochondriaandbunnies]

Gina and Trudy sharing an impromptu tango for @yearoftheotpevent 's January prompt ~ "May I Have This Dance?"

[detectiverickitubbs]

Zito is in complete and utter disbelief that someone had the nerve to accuse Sonny of being crooked. He can’t even with the DRAMA. This is the face of a friend bracing for IMPACT. 

Gina’s just plain irritated. 

[lastactiionhero]

[mountain-of-madness]

Miami Vice cast + if they would fuck their clone

I will accept criticism

[iloveitxwhenaplanxcomestogether]

Face, Luca, Judy Hoffs, Gina Calabrese, Trudy, and Philomena Cheer would be most successful at this.