In television's realm, a landscape vast,
A show like Homicide, with stories to amass,
But scheduling whims, a capricious fate,
Can disrupt the flow, and create a jarring state.
Nothing Personal, an episode misplaced,
Originally slated for mid-season's pace,
Delayed until April, a strategic move,
To shield the show from potential backlash to prove.
The story unfolds, with Detective Howard's plight,
Inheriting Crosetti's case, a challenge to excite,
But Felton's collapse, and Giardello's pain,
Subplots that meander, without clear gain.
The Waterfront Bar subplot, a comedic reprieve,
A loan secured, but bureaucratic hurdles to leave,
The episode falters, with disjointed pace,
A "filler" episode, devoid of substance and space.
The creative team, burdened by production stress,
Resorted to tropes, rather than innovative success,
The absence of investigative rigour and might,
Leaves the episode adrift, without clear light.
Yet even in failure, the show's strengths shine through,
Flawed characters foregrounded, with human emotions true,
A willingness to explore the complexities of life,
Even in missteps like Nothing Personal strife.
Dean Winters' debut appearance stands as a curious find
A footnote in history book marked left behind
Though it cannot redeem narrative lethargy
a nostalgic charm for trivia enthusiasts to see
Nothing Personal remains an inconsequential tile
in Homicide legacy mosaic proof even great shows go vile
Creative fatigue inevitable yet still they thrive
a testament showrunners willingness take risks survive.
(Note: The review in its original form can be read here.)
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