reviewer: Rissi C.
     

Having “run out” of NCIS after watching all six available seasons in an alarmingly quick amount of time, we were in serious need of a dose of yet another good show. What better way to ease the wait for NCIS's seventh season than to merge into some of Donald Bellisario’s earlier work -– a choice that looks very promising. JAG is another fine example of why his shows have such colossal ratings… oh yeah, and run for more than just two seasons.

Being a Navy pilot takes more than just expert flying skills -- it also tests the sort of person you are. Or at least that has been the philosophy of tough Captain “CAG” Boone (Terry O’ Quinn). After the elite Navy aviator’s latest mission, CAG “tested” RIOs co-pilot Lt. Angela Aruttis’ “worthiness” of being in the air. She failed not only his ideals but also questions his judgment in regards to the use of certain missiles for the mission. Taking ribbing from the guys, who have dubbed her “ice,” because of her cool manner towards anyone taking a pass at her, Angela decides to resign. But before she can tender a resignation, she disappears and no one seems to know why. All evidence suggests she fell overboard in a tragic accident or, as the ship’s “scuttlebutt” would have it, committed suicide after a rough run. Even though the JAG officials want to rule it an “accidental death,” they are forced to follow protocol by sending two investigative lawyers.

Lt. Harmon Rabb (David James Elliott), a former Navy pilot who likes to “push the limits,” is mildly suspicious but it’s fellow co-worker, Lt. Kate Pike (Andrea Parker) that is most unwilling to believe Angela just slipped and fell off a deck protected against such mishaps. As if to solidify Kate’s impression, Angela’s roommate, Cassie (Raye Hollitt) insists that she wouldn’t have committed suicide. It’s strange to think a show that premiered just thirteen years ago could be so out-dated yet that is exactly what we get with JAG, an intelligent, but occasionally unrealistic drama where the pilot bears the brunt of any mediocre standards. JAG’s weakness is in filming aircraft sequences and the transitions between “real” footage and specific filming for the show. Most of these scenes are noticeably shot against a green screen, making for a less than authentic experience, but is something the show improved with time. It isn’t as professional as shows airing today. This falters most by some of the episode’s dialogue being more difficult to hear whenever taking place on a ship or inside a fighter’s cockpit with lots of background noise, making it a challenge for the viewer to hear what may be important conversations. Still, it’s fascinating to watch and learn -- being a TV show, one has to realize that things are added for dramatic effect, but I also believe the show was researched to a certain extent. Having distant relatives who have served in the military (most currently as a JAG), and most of all being a supporter of the armed forces, anytime these subjects are handled with a recognition of “rightness” and dignity that deserves credit.

Like its companion (NCIS), JAG offers interesting characters, most of who reappeared. Elliott was with the show the entire run, making it likely that his character was explored extensively. His is without question the most intriguing one, seeing as he has the most mysterious persona and a name constantly “known” to other characters. It’s refreshing to see that he is an upstanding person who possesses an enormous amount of “care” for his partner but doesn’t expect anything other than a working relationship, despite their sparring word matches. In the first episode of the actual season, Tracey Needham joins the cast for the duration, replacing Andrea Parker. Her character Meg is quite an entertaining female lead; she isn’t intimidated by anyone, which can work to her advantage (or borrow nothing but trouble!) and being a Texan gal, she is quite a spitfire. (Oliver North also guest stars -- twice!)

Unexpectedly, season one has quite a lot of innuendo. Female leads are often the brunt of most these instances, particularly the lawyers, whenever they are among a large company of men. References suggest couples want to make their relationship personal; a female commander (who receives numerous comments about her body image) constantly suggests she and Harm should sleep together (once she and Meg both admit they think about it). The finale involves the victim being raped (implied) and questions are asked in regards to her sex life. To compensate for anti-feminist sentiments and prove her worth, Meg takes on any and all challenges without thinking straight. Profanity consists of da**, he** and one episode just misses a use of the f-word; crude expressions are voiced. Aircrafts are shot down or crash land, leading to tense moments. Men are shot, some numerous times (rarely is anything graphic seen). While not as brilliant as others in its genre, I have a feeling that in its decade-long run, JAG became a much more powerful, structured show.

Latter episodes do become darker in unusual ways -- such as the topic of reincarnation (this leaves you a bit doubtful by suggesting it was “real”). What was amusing about this show was that it began on NBC before moving to the unofficial home of CBS -- a move that likely improved the show threefold. Grounds for applause are the wonderful themes of patriotism depicted nearly each episode, and while some seem a bit sympathetic with certain countries’ regimes, it normally always is shown as being on the part of the innocents who hate what their country has become, but to survive comply in certain capacities. It’s shocking this (the themes and honest dialogue) aired on network TV, but then that is just another (disheartening) example of how we’ve changed in a relatively short period of time. Politics enter into the stories numerous times, but as a collective series, they are much in the same realm of thinking of right vs. wrong. Seeing the “good guys” make a rescue (i.e. the climax in “Scimitar”), it makes you want to cheer out loud, no matter that you’re in the comfort of your own living room. The dialogue isn’t as snappy as Bellisario’s current hit, but there is still much laughter; in fact most the episodes “end” without taking us completely through the particulars, it almost always concludes just “knowing” everything will come out right…

Unfortunately, the “rarely” seen “Skeleton Crew” episode is of little impact to the series, seeing that it neither answers its own questions nor provides a believable reason for why we never see Meg again. Thankfully, her leaving had nothing to do with her character’s death, but her character’s story wasn’t “completed,” apart from the brief mention she receives in the next premiere. Overall the season leaves many questions unanswered. Still even without the strong effectiveness of NICS, this series is excellent by its own right. And something I’m eagerly looking forward to watch improve.