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Targets Without a Badge Part 2

It's nice to have some solid evidence that Hutch comes from money.




We just don't know why Hutch lives so simply.  There's been evidence that he comes from "breeding", as the official novelizations suggest, usually in the form of the way Hutch is so familiar with fine dining and good clothes.  But if he can afford a car like Belle, one has to wonder how he is able to come up with the money for her.  And if he's had the money all along, why there hasn't been any other signs of it.

I love that Hutch acts like he has no interest in going to a matinee, but yet he ends up going with Starsky anyway, in Part 3.  A porn movie, no less.

Of course, it's as adorable as heck that the guys automatically assume they're going to get new jobs together -- Hutch's possessiveness about the want ads, aside. 

The "interview" at the porno studio is to die for, but what I love the most is the way Starsky seems to know all about Hutch's ability to do headstands.  (Pausing for a moment to imagine Hutch demonstrating his special "talent" to Starsky.  Clothed or unclothed?)

It is weird how those two are so aware as cops, but then are so clueless as civilians.


At the Pits, the guys are so into each other that they hardly even pay attention to Huggy.  I don't think for a minute that Starsky was clueless as to what Hutch had in mind, when Hutch did his "think of a number" controlling thing, so he could make the move on Alison.  Starsky just likes to indulge him, so Hutch can feel superior. 

I was wrong yesterday about who asks Huggy, "Would you like us to feel more guilty?"  It was actually Hutch that says that.  But it doesn't change the fact that the guys seem to find solace in their usual humor and banter with each other, and don't come off as feeling the least bit guilty or reprimanded about how their actions got Lionel killed.

Hutch wants to spend time alone with Alison.  Starsky wants to also spend time with Alison, but not without Hutch.  He buys tickets to Brahms for all three of them.  Interesting how, in this context, Starsky is the more clinging one, so to speak.  He doesn't want Hutch out of his sight.  I don't think he would have any interest in Alison (before he knows her real identity), if Hutch couldn't be part of the fun.

If the Maes are part of the witness protection program, it doesn't seem likely that they would have photo albums from the past.

Still, that fun scene with the photo album is more of the guys hanging all over each other, against the background of trying to one-up each other for Alison's attentions.

Alison herself is so likable, because she doesn't let herself get caught up in their games.  She really seems to have no interest whatsoever in either of them sexually.  One almost has to wonder if she's decided they're a gay couple that just likes to play at attracting women.

I love Hutch's "Dear Diary" line about taking the bus.

The scene of the guys at Starsky's apartment is really lovely.  We virtually never get to see just the two of them together at home.  It's an especially nice touch that Hutch is looking all over the kitchen, and then it becomes apparent that he was looking for cookies which, it turns out, are in jar over the refrigerator.   

What this episode seems to demonstrate is, without having the security of their usual jobs to ground them, Starsky and Hutch are more dependent upon each other than ever.  That's a nice thought for however one might want to look down the road, to a time when they're no longer cops.