There comes a time in most TV series when certain things fall into place. Taking a step back from our usual comments on plot machinations, NASH BRIDGES has reached such a point. The series is really in its third season (according to the number of episodes), but because of that truncated first season of only 8 trial episodes, NB is now technically in its fourth season.
It is now apparent to the investors of NASH BRIDGES that it has a reasonably sure thing in two ways. Most assuredly, there is experienced star Don Johnson, in a role of cool cop with a track record of being the coolest cop (MIAMI VICE). He's been through hell and back, so he won't fall into the usual star excesses. Secondly, NASH BRIDGES is in a proven meat and potatoes genre. From the very beginnings of television programming with DRAGNET to HAWAII FIVE-O to KOJAK to HUNTER to WALKER, TEXAS RANGER, the police genre was and is a stable ratings gatherer.
MIAMI VICE burned red hot too quickly, and though it's sacrilegious to say, MIAMI VICE was terrible towards the end. Quality and ratings fell off, and the series limped towards its finish. But a series that doesn't take off immediately, but gets respectable upper half ratings, with a stability than doesn't decline, but only gradually builds towards that 100th episode, that builds towards a sizable syndication package - that's where NASH BRIDGES is at.
This season, we see upcoming previews to build upon the notion of a syndication package of many episodes. Some series already go into syndication by the third or fourth season. By the third season, the budget is pared down lean and mean. A core group of essential characters is established, others less than that are let go. There are less action sequences, less expensive crowd scenes, more interior and set shooting. The show is "grooved in" that is, they known how to operate efficiently at a given budget. They're going for that TV brass ring, that 100th episode, which symbolizes a 5 year run and a decent sized syndication package for a daily re-run schedule.
On to this particular episode, "Imposters" continues in the low-key vein of the premiere. Why this low-keyedness? It may be to lower expectations - expect more emphasis on character rather than flashy action sequences (oh - they'll still throw in some just to keep you interested). But it just may be easier on the budget. "Imposters" establishes Nash and Joe's goofy gay detective business - the series can really go off in a different direction if they want to, like a gay MAGNUM PI (don't expect that). The main story, if you can call it that, of Nash coercing a bondsman to confess, is too wacky other than to pass time as another episode under the belt. It's in thin plots like this that truly funny moments occur, like the character of Laticia negotiating her surrender: "I don't want no fat, donut-eating white dudes watchin' me. I want fine, fair young cute cops only." as Nash drives right up to her phone booth, slamming down her deal. Go for the brass ring, Nashman.
For more, see synopsis for Episode 56