An estranged friend forces Sonny to confront a long buried secret.
Perhaps out of a fear of repeating myself-- I've said a lot about Evan, both in analysis and in fic-- I got a little stuck on this one, this time around. I guess I don't want to seem like a broken record, or like I'm overstating the importance of a single episode, but Evan is as much a distillation of everything that Miami Vice "is" as anything-- it's bleak, it's heartfelt, it's beautiful, it cuts to the heart of Sonny's inability to love himself, and it 's deeply, heartbreakingly queer.
It absolutely should have been the Season One finale. Lombard is a good episode, but it's not Evan good. On top of that, the last few episodes have all had a running undercurrent asking-- "hey-- what is *normal*, here, especially for Sonny? What does it mean to be vulnerable, to share your life and your secrets with someone? What do we mean when we say 'partner?'" that feels like it reaches its climax with Evan. And even further, Evan's whispered portent at the end of the episode-- that he made his choice, that Mike Orgel made his choice, and that now it's Sonny's turn to make his choice-- sets up much of the rest of the series thematically. The series finale is Sonny's answer: in the end, he chooses to step away instead of letting himself be destroyed like his friends.
BUT. I don't really think Network Television in the 80's really wanted the season for their very expensive and incredibly popular show to end on Sonny's Repressed Gay Trauma, because then audiences would've had to sit with that all summer, and frankly I suspect more people might have had an Aha Moment about Sonny's sexuality if that had been the case. So instead they ended S1 on Charming Mobster Dennis Farina, which is fine, but not quite as thematically powerful.
So what to say about Evan that I haven't said already? The episode opens with Evan selling guns; to demonstrate the power of the weapons, he shoots the hell out of a bunch of mannequins. I hadn't recalled that before he did this, he kissed the mannequins around their middles. It's super performative masculinity-- Evan is terrified of not being seen as a "real man," so his only options are, essentially, violence and (straight) sexuality, both of which he enacts on the mannequins. It's unsettling to the the point that one of Guzman's goons keeps making a face like "do we. Do we have to buy guns from him," and it signals to the audience that something is Not Right with this man.
Because this is an episode about gay men and what it means to be a man and how man treat one another, we get an interesting little moment where Larry is leaning over Stan's shoulder and reviewing case files with him. Stan seems irritated at the lack of personal space, and tells him to go look over files on his own desk. It's a bit of a throwaway gag, but it's also the kind of gentle, thoughtless repudiation of closeness that makes intimacy of any kind difficult between men of any sexual orientation. When Sonny talks about the way he and Evan and Mike Orgel used to talk to and tease one another before Mike revealed he was gay, this is the kind of behavior he's referencing.
The scene where Sonny has to go undercover as a far right gun nut to get information from a neonazi is both disturbingly still relevant and disturbing from an in-universe perspective. Sonny, still too pretty even in fatigue pants and a government-issue cap, looks like an underwear model doing military cosplay; he almost seems younger, like putting on the trappings of his Vietnam days transported him back there. In order to convince the gun seller he's serious, he says he's done with the military because the military is full of "women, half-breeds, and homosexuals" (which he says like it's four words-- HO-MO-SECK-SHUALS), but he turns away while he's saying it, and his face radiates pain and fear. He is wildly uncomfortable in this persona; we know he doesn't believe these things, but more than that, you get the sense that he's genuinely concerned his disguise as a Grade-A American Heterosexual Tough Guy is not going to hold up under any serious scrutiny.
I have a lot of questions about this painting, presumably belonging to Mr. Unfriendly Drug Lord Guzman, of an emaciated man with a railing between his ass-cheeks. Like. Is that so on the nose that it circles back to mysterious again, or is it literally a painting of an ass railing in the Let's Talk About Gay Stuff episode?
Castillo is extra recalcitrant in this one-- he argues with the ATF agent and insists he'll bust whoever needs busting, and then shortly after is just like NO when Sonny says he cannot be involved in this case
The ATF agent refers to Evan as Sonny's "old playmate," which feels uh, pointed
Rico asks Gina a favor and she sighs and says he "always needs a favor;" she still seems a bit irritated from No One Lives Forever
Guzman's manservant lifts him out of the pool and dries him off and dresses him, so perhaps the painting isn't all that odd for him
When Evan tries to convince Guzman to back off of the deal with Sonny, Guzman is eating a plate of fruit in a bathrobe, the sea over his shoulder, bathed in pinks and blues. Evan, on the other hand, eats the true breakfast of champions-- a cigarette and whiskey-- and everything around him is grey and white.
Evan smiles completely genuinely when he sees Elvis, and Elvis makes no move to attack him, which makes me cry
Like. He and Sonny were such good friends that Sonny's alligator missed him
Just throw me in the bay and forget about me as the fish chew me to death, I guess
When Sonny refuses Evan, Evan says he'll happily take Rico instead, and that's when Sonny really starts getting angry-- it's one thing for Evan, who Sonny blames for the death of an old partner and friend, to put Sonny's life in danger, it's another thing altogether for him to casually suggest Rico could be another bit of collateral in their shared history
Thank you script writers for lines like "I wouldn't have had to pull Freed's jacket if you'd been straight with me" (that really is the issue here, isn't it, Rico? Sonny can't quite do that, can he!) and "we are involved... *pause* in an operation." The gay subtext in the gay text episode is logged and noted
Evan encourages Guzman to shoot them all, himself included, and casually tells Sonny and Rico that Guzman used to "shoot people just for being left-handed," which feels like a metaphor for.... something, some kind of... human difference that has been, historically, punished and marginalized... couldn't tell you what, though
Tubbs speaks French to Michelle-- do we ever hear him doing this again? Does Tubbs speak French for real, or is he just like, repeating something he heard on a perfume ad or something?
When Sonny comes in, looking all hangdog, and tells Tubbs they need to talk, Tubbs tells Michelle he wants a rain check-- Michelle's response is "I bet you would," which is very ambiguous-- it seems equally likely that she's telling him he's got no chance or that she straight up doesn't believe he wants the rain check because she's pretty sure Crockett's his ex
I've talked at length about the gas station scene, but the fact that Rico's response to Sonny's confession about Mike is "how did you handle it" rather than anything else-- the man knoooows half of Sonny's issues here are coming from his internalized homophobia and self-loathing
I don't think Evan has changed his clothes for three days?
Logistically, it makes no fucking sense for Sonny, Evan, and Mike Orgel to all be queer men, but the episode really doesn't do any work to make Sonny or Evan obviously heterosexual, either. It's very easy to read either Sonny or Evan's guilt and trauma as coming partially from their own identities, and the way they both talk about their bad reactions to Mike's coming out reinforces this. Evan's line, "I've found more ways to hang that rap on myself than you or the devil will ever know about" mirrors Sonny's earlier insistence that Rico is not his "priest" and that he doesn't have to "bare his soul" to him; Vice is not a show that frequently has its main characters suffering from religious guilt or trauma, so it seems very meaningful that both of them are bringing their despair back to the idea not just of guilt, but sin. And perhaps even more specifically than that, sin that they refuse to let anyone-- friend, priest, or devil-- see.
Gina and Trudy show up in regular police uniforms at Guzman's arrest, which I think is the only time we see them dressed like that in the entire series
Peter Gabriel's Biko initially seemed to me like a really weird choice for the end of the episode, given the specific milieu it was written in and for (South African apartheid and the police murder of an anti-apartheid activist), but upon this rewatch it dawned on me that what they were trying to do was, a bit clumsily, tie the two ideas together. Mike Orgel died because he was part of an oppressed minority group, and if you read Evan as a closeted queer man, he has followed after him (and warns Sonny-- potentially a third closeted queer man-- that he will also need to make a choice about how to lead his own life soon enough.) I don't necessarily love slotting in one marginalized group for another there, but it's a very 80's sentiment, I think, so I'll let it stand. I think it's meaningful that the lyric "you can blow out a candle, but you can't blow out a fire" precedes Evan's warning to Sonny. Was Mike, then, the candle?
The episode ends with Sonny tenderly cradling Evan's head while Rico stands with his hand on his shoulder; he's allowed touch and intimacy with Rico (as he was at the gas station) that he could not have ever really had with Evan except under extremely extenuating circumstances and now death. Mike, Evan, and Sonny couldn't find a way to "deal with it," as Rico put it, but the implication is that maybe Sonny and Rico can.
THIS. THIS IS WHAT I WANTED MORE. THEIR FRIENDSHIP.
"What's shaking in corpse city?"
"How'd you do on the '56 Robby?"
"I snagged it for a song."
"Oh, rock on!"
"Will you bring it by later?"
"I definitely will, yeah."
"Oh, good."
