JAG, Season Six (2000)

Rating: 4 out of 5

Rated: TVPG

Reviewer: Rissi C.

Best known for its positive depictions of the military and a will-they-or-won’t-they romantic tease between the leading characters – Colonel Sarah MacKenzie and Commander Harmon Rabb – this series has evolved over its six seasons that to this day is still well-known. Not only by its continued airings as re-runs, it played a large part in bringing about the immensely popular spin-off, NCIS and more indirectly, one of the biggest hits of 2009, NCIS: LA.

Known in the courtroom for her strong prosecution tactics which result in winning strategies, Sarah MacKenzie (Catherine Bell) is currently working on a serious military case she was assigned by her superior at the JAG offices, Admiral Chegwidden (John Jackson). Being accused of selling secrets to the Russian government, the defendant, a navel commander is willing to talk... it’s Mac who isn’t interested in hearing what he has to say; instead she “knows” he is guilty and wants to convict him. Despite his repeated statements that she doesn’t know the half of it, Mac refuses to listen only to turn away and see the car by which he is being taken back into custody blow up in JAG’s parking lot. Sure they missed something now the man they were responsible for prosecuting was murdered, Mac and Bud Roberts (Patrick Labyorteaux) comb over every smidgen of evidence again, whether it has a paper trail or not. Feeling pressure from the Sec Nav (Paul Collins) and for the good of the U.S., Mac finds that not only did she misjudge something vital in her professional life but her personal life is about to unravel when almost-fiancé, Mic (Trevor Goddard), newly transplanted to D.C. from the Australian Royal Navy comes up against her in court.

Attempting to help prep Commander Rabb (David James Elliott) for his assignment, Petty Officer Tiner (Chuck Carrington), an aspiring lawyer, decides he needs “coaching” in the Russian language. Used to frequent travels, Harm knows it’s just an adjustment that comes with the job it’s his Hollywood director girlfriend (Cindy Ambuehl) who sees it quite differently and wearies of their cancelled plans. Ordered to Russia to reform Russian military justice… and possibly catch a Russian captain stealing weapons from the Russian armies for his own personal gain. Little does Harm realize that CIA agent Clayton Webb (Steven Culp) and a Russian major (Rex Linn) are behind Harm being there, his purpose to uncover something much greater. Mac discovers Harm is involved with something blindly and insists he be told only to be sent to Russia to investigate her own failed case. There, Mac defies Webb and Falcon, determining to find her partner not knowing that he has discovered a personal connection in Russia, one that changes his life… Since Harm is gone from the office, Bud picks up one of his cases revolving around a woman suing the Navy for costing her a million dollars. Help with research comes from Gunny (Randy Vasquez), and Bud finds himself dealing the winning hand. It’s his home life that has the most exciting changes coming as he and Harriet (Karri Turner) prepare for adjustments in their little family.

Secrets... from the beginning that is more or less where this series takes its cues from. Often these secrets lead to raw emotions of characters' past. The “shocker” in the premiere makes for fabulous entertainment but ultimately affects the mental health of the characters. I have mixed feelings about screenwriters going in the direction they did. It’s nice for Harm and he has a fabulous new relationship to encourage, but it seemed a bit unrealistic knowing how much the supposed integrity of the character involved was said to be. Having been away, a POW for so long, this individual had no real expectation of ever setting foot on U.S soil again. Still, it’s stretching the “believability” factor, morally. These themes continue to play out in the highly interesting “Family Secrets,” mainly because it has the unusual ability to build some needed tension while being charming at the same time. These and other episodes seek to bring characters back together and reconcile them to the tragedies in their life; including bringing a couple together after an unthinkable loss, only to make them stronger together. During these “secrets,” several moments serve to offer such thought-provoking tender scenes that I found myself loving the whole scope of season six. War crimes and games serve as topics for a couple of shows. (In the latter’s case, seven men are killed in an accident when the ship rammed into their opponent.) Generally, these are handled fairly well with the usual politics that come with something such as these instances would. The Vietnam War enters into a case showing flashbacks of alleged innocent civilians being shot. This questions the integrity of a high-ranking officer when he’s accused of having participated in them when only a Lt. (A snapshot shows an enemy Vietnamese woman holding up a severed head; its revealed that she and comrades dismembered a Navy pilot.) Suicide is discussed in nonspecific terms after a sailor jumps in front of an incoming F-14, killing himself instantly (there is a blurred, brief scene of the event).

Religion comes in the Catholic form through a case that says a man was able to find his wife because a deceased chaplain led him to her. A priest becomes involved to investigate whether or not this man is worthy of a sainthood (other similar miracles are discussed; a man expresses anger at God for not saving his child). Little to no sexual content intrudes these scripts but there are a couple of innuendos. A man becomes protective of his little sister when she is kept out all night by the brother of his co-worker (nothing happened). Bud handles a case where a female marine refuses to photograph a tattoo that is on a private part of her body (when up for promotion, all personal must prove their body art isn’t offensive; this case has a neat ending); Harriet goads Bud into admitting he found the Corporal “sexy and pretty.” Years ago, it comes out that a main character had an abortion. Meant comically, Mac handles a case that involves a man with multiple wives (he claims to love them all as do the wives declare similar feelings).

For the most part, I liked the inner-workings of this season and the way it so heavily dealt in small and big tragedies while accumulating so many other things that play principally into the finale. Having mentioned this both in passing and expanded on more so previously, I feel sort of silly speaking of this topic again, but this season really plays up the underlying attraction that is between Harm and Mac. There are meaningful glances and the actors do a marvelous job of wearing their “hearts on their sleeves.” This group is really one of the more fascinating ensembles to even be written to screen. New characters such as Rene Peterson (she is insanely likable… or as some of you may prefer, obnoxious) and players who are simply given more time to develop (like Tiner) only prove to make the show better. An episode like “The Princess & the Petty Officer” is a sweet memorable addition -- it was a perfect fairy-tale on one side of the spectrum, which turns into a nightmare for another. One couple tests their own relationship when they unexpectedly must confront emotions from loss, a loss that as a “family” of their own making, the people at JAG envelop them into their hearts to grieve with them. It was the final four offerings that were strongest, though. “Past Tense” takes a trip down memory lane that sets into motion a lot of things for Harm; “Lifeline” is a serious turning point for Harm and Mac while “Mutiny” is a fun foray into the 1800’s Navy. Ending on a part one finale that questions the safety of a leading cast member was interesting because it drastically changes how another character thought their life would be.