JasonDanielBaker
Okt. 2001 ist beigetreten
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"You look like my son"
The young looking undercover officers of the 21 Jump Street unit go on the down low to find a missing teen male prostitute after several in the same area of town have fallen victim to a brutal assailant.
Aaron (Damon Martin) - the missing young man, is charismatic leader of a group of street kids and his friends feel very much lost without him. His fate is tied to his protectiveness, and need to provide for them. He took the risk all streetwalkers do.
Officer Doug Penhall (Peter Deluise) takes the lead by posing as "Trump" - an enterprising hustler, new to the scene, with similar personality traits to their absent den-father.
Penhall quickly wins the confidence of the group of friends and rallies them to help find Aaron. Along the way he bonds with "Bonzo" (Heather Fairfield), a frequently victimized young woman with countless psychological scars.
Officer Judy Hoffs (Holly Robinson Peete) is brought in to help and she bonds with Moho (Bridget Fonda) - an out of place refugee from middle-class suburbia. She tries to convince Moho to go home and is puzzled by what the lure of the streets is for her.
The arc of the Aaron character is poignant. His sacrifice for his friends is Christ-like. Yet it becomes clear Moho chose the streets not merely as a form of rebellion, but as an expression of love for Aaron and the friends she has made.
The economical use of Damon Martin's portrayal (Perfect, even if we only see him for a minute) makes for one of the better guest-star turns in the series. The remainder of the dialogue articulates why he does what he does.
The respective portrayals of his friends, particularly the criminally underappreciated Heather Fairfield, and soon to be major Hollywood star Bridget Fonda show what Aaron does it for.
They're the only family he has. He won't leave the streets unless he can bring them with him. His cockiness gives him enough reason to think he might be able to. That he gets more than he bargained for is tragedy, not comeuppance.
The conclusion shows the limits of what police work can do to protect the most innocent from the very worst. Penhall and Hoffs are stung by it in ways which will consistently linger.
This gritty episode is one of a fair number wherein this series found its voice, and went beyond its formula. What we do not see are the excesses (Inexperienced acting, exploitative story-lines or superficial writing).
The young looking undercover officers of the 21 Jump Street unit go on the down low to find a missing teen male prostitute after several in the same area of town have fallen victim to a brutal assailant.
Aaron (Damon Martin) - the missing young man, is charismatic leader of a group of street kids and his friends feel very much lost without him. His fate is tied to his protectiveness, and need to provide for them. He took the risk all streetwalkers do.
Officer Doug Penhall (Peter Deluise) takes the lead by posing as "Trump" - an enterprising hustler, new to the scene, with similar personality traits to their absent den-father.
Penhall quickly wins the confidence of the group of friends and rallies them to help find Aaron. Along the way he bonds with "Bonzo" (Heather Fairfield), a frequently victimized young woman with countless psychological scars.
Officer Judy Hoffs (Holly Robinson Peete) is brought in to help and she bonds with Moho (Bridget Fonda) - an out of place refugee from middle-class suburbia. She tries to convince Moho to go home and is puzzled by what the lure of the streets is for her.
The arc of the Aaron character is poignant. His sacrifice for his friends is Christ-like. Yet it becomes clear Moho chose the streets not merely as a form of rebellion, but as an expression of love for Aaron and the friends she has made.
The economical use of Damon Martin's portrayal (Perfect, even if we only see him for a minute) makes for one of the better guest-star turns in the series. The remainder of the dialogue articulates why he does what he does.
The respective portrayals of his friends, particularly the criminally underappreciated Heather Fairfield, and soon to be major Hollywood star Bridget Fonda show what Aaron does it for.
They're the only family he has. He won't leave the streets unless he can bring them with him. His cockiness gives him enough reason to think he might be able to. That he gets more than he bargained for is tragedy, not comeuppance.
The conclusion shows the limits of what police work can do to protect the most innocent from the very worst. Penhall and Hoffs are stung by it in ways which will consistently linger.
This gritty episode is one of a fair number wherein this series found its voice, and went beyond its formula. What we do not see are the excesses (Inexperienced acting, exploitative story-lines or superficial writing).
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