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**Control (S05E09)**

Airdate: 6 December 1996

Written by: Les Carter & Susan Sisko
Directed by: Jean de Segonzac

Running Time: 46 minutes  



In the latter seasons of *Homicide: Life on the Street*, the show’s narrative structure increasingly relied on two familiar patterns: either resolving cases neatly within a single episode, adhering to the procedural tropes of police dramas, or weaving unresolved cases into sprawling, multi-episode arcs like the infamous Luther Mahoney Saga. *Control*, a late-season entry from its fifth season, exemplifies this latter approach. While the episode’s title suggests themes of authority and power dynamics, its true strength lies in its adherence to the series’ evolving format, balancing a high-stakes murder investigation with the ongoing fallout from previous storylines. Though not among the season’s most memorable episodes, *Control* underscores the show’s commitment to character-driven storytelling, even when its plotlines feel formulaic or overly familiar.  

The central narrative of *Control* revolves around a “redball” case—a term the show uses to denote high-profile investigations—that immediately establishes its prominence. A television reporter, Dawn Daniels (Rhonda Overby), alerts the victim’s family before the police even arrive, underscoring the media’s invasive role in policing. The case involves the brutal murder of a woman and her two young sons in their home, assigned to detectives Frank Pembleton and Tim Bayliss. Pembleton, still recovering from a stroke that impaired his speech, struggles to regain his investigative “mojo,” while Bayliss clashes with his partner over the suspect’s identity. Pembleton fixates on Jimmy Suter (Andrew DeAngelo), the victim’s volatile, music-aspiring boyfriend, citing his history of arrests for violent crimes. Bayliss, however, suspects the victim’s ex-husband, U.S. Navy Lt. Commander Alex Clifton (Michael Gaston), a seemingly composed but emotionally detached figure. The tension between their approaches culminates in a masterclass of interrogation when Bayliss manipulates Clifton into confessing, exposing the ex-husband’s meticulously controlled rage. While satisfying in its resolution, the case feels predictable, relying on familiar tropes of authority figures hiding dark secrets.  

Parallel to this primary plot, the episode deepens the ongoing Luther Mahoney Saga, which had dominated the season’s latter half. Here, the focus shifts to Nathaniel Lee “Junior Bunk” Mahoney (Mekhi Phifer), the drug lord’s timid nephew, whose involvement in a street dealer’s murder becomes a critical subplot. Meldrick Lewis and Narcotics detective Terri Steevers build a strong case against Junior Bunk, who quickly pleads guilty and agrees to testify against his uncle. Yet, Luther Mahoney’s influence persists even behind bars; he orchestrates a campaign of intimidation that forces Junior Bunk to recant his testimony, collapsing the case. A tense scene at the Waterfront Bar epitomises the Mahoney dynasty’s reach: Luther, unshaken by his nephew’s betrayal, taunts Lewis by offering to pay drinks for regular patrons.


Smaller subplots further tie the episode to broader narrative arcs. Brodie, still reeling from being evicted from Kellerman’s boat, attempts to persuade Russert—who is vacationing in France—to let him house-sit her home, a recurring gag that highlights his perpetual homelessness. Meanwhile, Kellerman faces a federal grand jury summons related to a corruption probe, a thread that hints at systemic decay within the department. A fleeting moment of levity comes when Dr. Cox, the coroner, spends the night on Kellerman’s boat, offering a brief respite from the episode’s grim tone. These elements, while minor, reinforce the show’s world-building, ensuring no character exists in isolation.  

Ultimately, *Control* is a solid but unremarkable entry in the series’ final season. Its value lies not in groundbreaking storytelling but in the depth of its performances. Michael Gaston, as Lt. Commander Clifton, delivers a nuanced portrayal of a man whose rigid control masks simmering instability—a role that would later cement his career as a character actor in authoritative roles. Mekhi Phifer’s Junior Bunk, meanwhile, defies typical “street character” stereotypes, portraying a figure whose cowardice and vulnerability humanise the Mahoney family’s criminal legacy. Andrew DeAngelo, now better known for his advocacy in marijuana legalisation, brings a raw edge to Jimmy Suter, a role that highlights his early acting prowess.  

However, the episode’s reliance on familiar tropes—such as the “cop versus corrupt authority figure” dynamic or the “traitorous relative” subplot—prevents it from standing out. The resolution of Clifton’s case, while satisfying, unfolds predictably, and the Mahoney arc, though impactful, feels like a retread of earlier episodes. *Homicide* had always thrived on its willingness to embrace ambiguity, but by Season 5, its formulaic approach to closure occasionally stifles its potential.  

*Control* serves as a competent yet unexceptional instalment, relying on the show’s strengths in character acting and continuity to justify its existence. While it lacks the narrative daring of earlier episodes, it remains a testament to *Homicide*’s enduring focus on human complexity, even within the constraints of procedural storytelling. For fans of the series, it is a reminder of the show’s ability to weave personal and professional struggles into a cohesive tapestry, even when its ambitions feel modest.


RATING: 6/10 (++)


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