Season Four: Condensed

KimberlyFDR’s review of Starsky and Hutch, Season Four, after a marathon viewing.

Original LiveJournal post can be found here.

Republished in the 2006 SHareCon Zine.

Moondroplette and I just spent 4 days together and in that time we watched ALL of season four in 24 hours in order. We’re what you might call a determined pair of fans.) But because of the whole condensed viewing experience, the issues of that season became more prominent and vivid. So, in light of that, we started thinking up the evolution of the characters in the season and how they’ve changed. And now, I share it with you. I’m going to do an overall theory and then the ep by ep one.

So the thing is, Hutch has been feeling out Starsky for a long time. There’s a gradual shift over the seasons, particularly season three, where Hutch is dropping hints or changing his focus towards Starsky. I’ve long said that Death in a Different Place is one of my favorite eps and it remains true because of how much depth you get from these characters. The scene in the car, where Hutch pointedly asks Starsky if it would have made a difference had he known John Blaine was gay. THAT SCENE is so overly telling of where these two men are in their lives. Hutch has been living in the closet, with the hidden truth, for all these years and he’s just trying to get Starsky to notice, but he’s afraid of the outcome and Starsky is not ready. Starsky knows, but he’s not ready to know, you know?) That look of “would it have made a difference, will it make a difference with us?” Starsky knows what Hutch is telling him, but he’s not ready to accept it yet, so he doesn’t. He just goes on with the knowledge in the back of his mind and it changes who these men are to one another because once you let that out, you can’t not know. It changes them, but they’re trying like crazy to not let it change them. Hutch is ready, Starsky’s not, and the lies that they construct to live their lives, to just pretend a little bit longer, is tearing them apart. And it will tear them apart and it will break our hearts to witness it, but it’s time. It’s time for Hutch to stop living in the closet and it’s time for Starsky to stop running away. They have to deal with this and it’s setting them up to do it.

By the time we get to Season Four, Hutch is flat out not making any excuses anymore. He has changed his focus from playing along to playing against. He wants Starsky to confront this issue, to say “yes, I want this, too.” But Starsky’s afraid. The man is running away as fast as he can. The more Hutch pushes him to confront it, the more he’s trying like crazy to prove the opposite. He’s the one that’s always had the whole domestic dream of a wife and a kid and a happy little home. Hutch did that, it didn’t work, he’s come to understand what might possibly work and he’s trying hard to make the other participant see it, too. But Starsky’s almost on a crash course of “I have to prove that I’m not like that, I have to prove that this thing between us isn’t what he thinks it is, I have to prove that there’s someone out there that can give me that fantasy and she’s just not come around yet.” He’s trying to prove that the happy fantasy is a mirror of what he was taught growing up. He knows how he feels about Hutch, but that frightens him more than anything. He can’t be gay, he just can’t. And his partner can’t be gay, he’s just confused. Yet, Hutch is not so much confused as he is reaching out over and over again. He needs Starsky to stop running away, he needs Starsky to be with him, he needs his partner’s acceptance and hopefully his love.

Discomania: Something happened, something changed. These men are not the ones we left. They’re noticeably separated and it’s beginning to hurt. They may be in the same car, but they’re miles apart. And it’s the beginnings of Hutch letting you in on the whole secret.

The Game: Starsky’s sure of himself, Hutch doesn’t like being controlled, it’s not a good combination. The whole set-up is about the weakness of the parts and the strength of the whole. And while Hutch is head-strong determined to prove that he’s worth more than Starsky gives him credit for, none of that matters when it comes down to it and he thinks Starsky’s hurt.

Blindfold: Starsky falling into himself. He’s taking on the guilt of this shooting and once again pushing Hutch out. Hutch is essentially working this case alone and he keeps reaching out, trying to draw Starsky out of that downward spiral and Starsky keeps rebutting it.

Photo Finish: There doesn’t seem to be the edge there anymore. They’re not at each other’s throats, they’re not destroying each other, but they’re also not together in the same manner as before. They’re going through the motions and letting the job be the reason rather than their relationship.

Moonshine: Same thing here. Fun episode, hilarious, and also Starsky’s focused on the case rather than Hutch. They’re going through the motions because they know the steps, not because they like the dance.

Strange Justice: Hello, this is what burn out does to you. What’s the point anymore? Why are you doing this job? Why do you continue to do this job? When are you going to break? And there’s a very nice contrast in one of the scenes where you have the rookie who just shot the rapist. Young, fresh, going to save the world. Then you have a shot of the boys. Older, tired, tried to save the world and the bad is starting to overpower the good.

The Avenger: Aside from the fact that Hutch’s mental capacity is a lot slower than usual, they’re also once again separated. Yet, Hutch continues to reach out and try to connect to Starsky over and over again. Starsky’s working the night shift to go undercover with this woman. Hutch is there, not even on shift, he’s there. He’s trying to show that the confines of the job is not what’s vital, it’s their relationship, yet Starsky continues to run away from that.

Dandruff: Hutch not only comes out of the closet, he comes out of the house. There’s no pattern to Mr. Marlene’s cover. Hutch randomly pushes gay stereotypes with no continuous pattern. The head of the beauty shop? It goes Hutch, Hutch, Mr. Marlene, phone rings, Hutch, Mr. Marlene, Hutch, Hutch. He breaks character with not only the lady, but with Starsky. There’s no reason. The head of security? Hutch flirts with him, perhaps to throw him off balance, but he continues to flirt with the man. A wink, a smile, a wave. Why? It’s almost as if he’s playing the extreme just because he can. Stereotypes is what Starsky’s afraid of, yet Hutch is throwing it in his face as if to say “what are you afraid of?”

Black and Blue: One of the most heart-breaking episodes for me. Hutch wants nothing more than assurance that he’s still important in Starsky’s life. The whole scene in his hospital room? He keeps calling Starsky partner, that’s the only thing he refers to him as. He’s seeking assurance that he’s still important even when the job’s not there to bond them together and what does Starsky do? Acts like a freaking idiot and all ‘got another partner, don’t need you’ and your heart just breaks for Hutch because he’s so alone and lost and just…broken.

The Groupie: I love Hutch playing dress-up and apparently he does, too. But once again it’s “let’s focus on the job, not each other.” When there’s a case there, they can pretend. When there’s something else to focus on, they can pretend. When there’s nothing there except the two of them, it’s too much.

Covergirl: Hutch is falling back into his safety net. Starsky has continued to run away from him, so Hutch naturally falls back into a relationship with something else from his past. Back then, everything was simpler. He knows how to love this woman and he could pretend that this is a forever kind of love, but as soon as Starsky let’s it be known that he’s jealous of this, Hutch is back at his side and “let’s focus on the case because it’s the closest I can get to you right now.”

Starsky’s Brother: Family is important, but there’s a boundary to that and blind loyalty shouldn’t be a part of the deal. Starsky had already mentioned that Hutch is closer to him than his brother and now we get to see the brother in question. Hutch and Nick could really do without each other, but they’re connected through Starsky. Hutch will do anything to protect Starsky, go through any amount of pain to save his partner from having to experience it.

Golden Angel: Again, they are noticeably separated and working the case mainly alone. They’re going through the motions, but it’s not the same feeling anymore. And the plans aren’t even as good. This has become a job to suffer through rather than a job they’re happy to do. They’re tired.

Ballad for a Blue Lady: This one hurts a lot. This one is almost to the point that the pain is tangible. They’re totally not connecting, not even listening to one another. It’s too little, too late. Starsky’s trying to get Hutch to focus on the job, Hutch is trying to get back to the way things once were. Marianne is his last ditch effort to return to the simpler ways. He used to be the White Knight, he used to be the hero, but Marianne makes him confront the fact that he’s tarnished. All those women he swept in to save? Where are they now? Marianne knows, he left them high and dry. He gets them out and then leaves them. She doesn’t want that kind of future and she makes Hutch ashamed of being the one that’s done it all these years. He has nothing left anymore.

Birds of a Feather: Good old Luke. Heroes fall and when they do, it hurts. All the things Hutch knew, they’re slowly being taken away. He’s not the White Knight anymore, he’s not as important to Starsky as Starsky is to him, he’s got nothing but the past and now even that’s coming down on him. The person he knew is not the person that exists now, not for anyone.

90 lbs of Trouble: Play your roles and it won’t hurt as much. Hutch is beginning to pick up on this fact, so he does it. He pretends to be someone he’s not for the job and he’s started to pretend to be someone he’s not off the job, too, because it’s better than the truth. Hide who you are before someone sees the real you.

Huggy Can’t Go Back: This is more focused on Huggy, but you get glimpses of the fractured relationship Starsky and Hutch have, too. Starsky’s still running away, Hutch is now playing a part, and neither one of them are confronting the issue at hand and what that means. Willful blindness is not a happy thing.

Starsky Versus Hutch: Hello breaking point. Hutch has tried, over and over again, to make Starsky listen to him, but Starsky’s not ready. Their relationship is in shambles and something has to happen to make it work again. The game is starting to hurt for both sides and they don’t know how to fix it. Starsky’s still pinning his hopes for a future onto anyone who fits his preconceived notion of what he thinks he needs, a woman. Kira’s now that “try her out, take her home” woman for him. Starsky’s trying to get Hutch to focus on the case, Hutch is trying to make Starsky focus on him, and they’re making each other mad. It’s all the usual pain until that scene in the kitchen. Starsky said that dreaded word, love. Hutch knows that Starsky doesn’t love Kira, he knows that Kira’s not able to love Starsky, but he has to get an answer once and for all, so he goes over to Kira’s place. And he was perfectly willing to walk away, to leave them alone to pursue this warped version of a happy home, until she said she loved Hutch, too. That was the point in which he knew that it was up to him to make Starsky wise up and take notice. Words didn’t work, but actions would. If you throw it into the man’s face, Starsky’s going to react. Hutch didn’t even put up a fight. Starsky’s the one throwing punches, Hutch is shielding himself. The pain is so great, but at least there’s a break in the foundation so that they can confront this once and for all.

The Snitch: Their relationship is repaired to the point of “I’m not running away anymore, but I’m not running towards you either.” They’re not perfect, but they’re working towards it. And then the bomb goes off. Starsky abandoned his job, his post, for Hutch. He made a choice in that hotel room, the ultimate choice of what is more important, and it’s hitting him. Hutch is burned out, we’ve seen it over the course of the year, so him walking away from the job is expected. Starsky, however, is a different story. Being a cop isn’t what he does, it’s who he is, but ultimately it’s not. The job means nothing compared to Hutch. It’s not being a cop that’s so important, it’s being Hutch’s partner. He chose Hutch over the job on that beach. He chose to stop running away and start running towards him. Starsky chose Hutch and Hutch knows it. No more lies, no more pretending, this is their future, together.

Targets Without a Badge 1: Whatever they do, they’ll do it together. They’ll get a job, they’ll serve a role, they’ll live their lives together. It’s like it once was, except better. You can never go home again, but you can regain what was lost. They had lost this for a long time, but they’re together now.

Targets Without a Badge 2: Duty and honor and doing what’s right, it used to be what they fought for. They lost their way for a time, but they’ve always been stronger together than apart. They’re not apart anymore and they make choices as one. Starsky walked away for Hutch and it’s up to Hutch to walk right back in for Starsky. Whatever they do, they must do it together.

Sweet Revenge: They’re making their date. It’s just so special because you know that they’re making a go of this. This is their futures, their happy futures, as one. And all that happiness that Hutch has been working towards achieving for months and months, it’s all snatched away in one instant. The man’s on a mission ten-fold. It’s always been “hurt those who hurt my partner” and now it’s on the level of “kill those who killed my partner.” Hutch accepts death sooner than anyone because he can’t hold out hope. If he hopes and then Starsky dies, he’ll collapse, so it’s better to expect the worst. He can’t touch Starsky in that hospital room because if he does, it makes it real. He’s hanging by a thread, he has to avenge Starsky’s death because that’s what it’s going to end up being. But Starsky comes back. Hutch hits the hospital doors and Starsky knows it’s safe to come back. He comes back for Hutch. When he wakes up, Hutch’s voice changing from Starsky (partner) to Starsk (lover), Starsky doesn’t know what’s going on. All he knows is that Hutch is there and that means everything’s okay. He can rest because Hutch is there to protect him. Had he not come back, had the death that Hutch was waiting for actually occurred, Hutch would have nothing left to live for except vengeance. Gunther wouldn’t have made it out of that room, but Hutch had Starsky to look towards, so he did his job and got his revenge and he still survived it. They survived it. Their future would come true and they would do it together.

It’s so vivid, so painful to see Hutch moving from who he was to what he has to be in order to keep the peace and those lies are killing him and he’s tired of living that kind of life. It all comes down to acceptance. Will Starsky accept Hutch for who he is? Will Starsky accept this relationship for what it is? Can they confront these lies and these emotions and these lives that they’ve created in order to make it hurt less? Can they make it work?