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The Mod Squad
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The Mod Squad
The Mod Squad is an American crime drama series, originally broadcast for five seasons on ABC from September 24, 1968, to March 1, 1973. It starred Michael Cole as Peter "Pete" Cochran, Clarence Williams III as Lincoln "Linc" Hayes, Peggy Lipton as Julie Barnes, and Tige Andrews as Captain Adam Greer. The executive producers of the series were Aaron Spelling and Danny Thomas.
The counterculture police series earned six Emmy Award nominations, four Golden Globe nominations plus one win for Peggy Lipton, one Directors Guild of America Award, and four Logies. In 1970, the second-season episode, "In This Corner . . . Sol Alpert," script by Rita Lakin and Harve Bennett, was nominated by the Mystery Writers of America for an Edgar Award in the category of Best Mystery Teleplay, losing to the TV-Movie Daughter of the Mind. In 1997, a 1970 episode "Mother of Sorrow" was ranked No. 95 on TV Guide's 100 Greatest Episodes of All Time.
A critic described The Mod Squad as "the hippest and first young undercover cops on TV". Each of these characters represented mainstream culture's principal fears regarding youth in the era: long-haired rebel Pete Cochran (Michael Cole) was evicted from his wealthy parents' Beverly Hills home, then arrested and put on probation after he stole a car; Lincoln Hayes (Clarence Williams III), who came from a family of 13 children, was arrested in the Watts riots, one of the longest and most violent riots in Los Angeles history; flower child Julie Barnes (Peggy Lipton), the "canary with a broken wing," was arrested for vagrancy after running away from her prostitute mother's San Francisco home; and Captain Adam Greer (Tige Andrews) was a tough but sympathetic mentor and father figure who convinced them to form the squad.
The concept was to take three rebellious, disaffected young social outcasts and convince them to work as unarmed undercover detectives as an alternative to being incarcerated. Their youthful, hippie personas would enable them to get close to the criminals they would investigate. "The times are changing," Captain Greer explained. "They can get into places we (the regular police) can't." Examples included their infiltrations of a high school to solve a teacher's murder, of an underground newspaper to find a bomber, and of an acting class to look for a strangler who was preying on blonde actresses.
More than a year before the release of the film Easy Rider, The Mod Squad was one of the earliest attempts to deal with the counterculture. The show also dealt with issues such as abortion, domestic violence, child abuse, illiteracy, slumlords, the anti-war movement, illegal immigration, police brutality, student protest, sex education, soldiers returning from Vietnam and PTSD, racism, euthanasia, and the illegal drug trade. Spelling intended the show to be about the characters' relationships, and he promised that the Squad "would never arrest kids ... or carry a gun or use one."
The show was loosely based on creator Bud "Buddy" Ruskin's experiences in the late 1950s as a squad leader for young undercover narcotics cops, though it took almost 10 years after he wrote a script for the idea to be green-lighted by ABC Television Studios.
The shows Hogan's Heroes (1965-71), Star Trek (1966–69), I Spy (1965–68), The Bill Cosby Show (1969–71), Room 222 (1969–74), Mannix (1967–75), Mission: Impossible (1966–73), Julia (1968–71), The Flip Wilson Show (1970–74), and The Mod Squad (1968–73) were among the first programs to feature African-Americans as stars since the stereotyped roles of Amos 'n' Andy and Beulah (ABC, 1950–53). Significantly, The Mod Squad presented an African-American character (Linc) as being on an equal footing, as roles went, to the Caucasian characters (Pete and Julie). In one Mod Squad episode, the script called for Linc to give Julie a "friendly kiss". Since the first interracial kiss on an American television show was in 1968, this was still fairly new territory in popular culture. The studio was frightened of a negative public reaction, so they asked Spelling to cut it:
"You can't do that," I was told. "You can't have a black man kissing a white girl." I won and ABC agreed to let it in, but they warned me I'd receive thousands of complaint letters. I didn't get one.
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The Mod Squad
The Mod Squad is an American crime drama series, originally broadcast for five seasons on ABC from September 24, 1968, to March 1, 1973. It starred Michael Cole as Peter "Pete" Cochran, Clarence Williams III as Lincoln "Linc" Hayes, Peggy Lipton as Julie Barnes, and Tige Andrews as Captain Adam Greer. The executive producers of the series were Aaron Spelling and Danny Thomas.
The counterculture police series earned six Emmy Award nominations, four Golden Globe nominations plus one win for Peggy Lipton, one Directors Guild of America Award, and four Logies. In 1970, the second-season episode, "In This Corner . . . Sol Alpert," script by Rita Lakin and Harve Bennett, was nominated by the Mystery Writers of America for an Edgar Award in the category of Best Mystery Teleplay, losing to the TV-Movie Daughter of the Mind. In 1997, a 1970 episode "Mother of Sorrow" was ranked No. 95 on TV Guide's 100 Greatest Episodes of All Time.
A critic described The Mod Squad as "the hippest and first young undercover cops on TV". Each of these characters represented mainstream culture's principal fears regarding youth in the era: long-haired rebel Pete Cochran (Michael Cole) was evicted from his wealthy parents' Beverly Hills home, then arrested and put on probation after he stole a car; Lincoln Hayes (Clarence Williams III), who came from a family of 13 children, was arrested in the Watts riots, one of the longest and most violent riots in Los Angeles history; flower child Julie Barnes (Peggy Lipton), the "canary with a broken wing," was arrested for vagrancy after running away from her prostitute mother's San Francisco home; and Captain Adam Greer (Tige Andrews) was a tough but sympathetic mentor and father figure who convinced them to form the squad.
The concept was to take three rebellious, disaffected young social outcasts and convince them to work as unarmed undercover detectives as an alternative to being incarcerated. Their youthful, hippie personas would enable them to get close to the criminals they would investigate. "The times are changing," Captain Greer explained. "They can get into places we (the regular police) can't." Examples included their infiltrations of a high school to solve a teacher's murder, of an underground newspaper to find a bomber, and of an acting class to look for a strangler who was preying on blonde actresses.
More than a year before the release of the film Easy Rider, The Mod Squad was one of the earliest attempts to deal with the counterculture. The show also dealt with issues such as abortion, domestic violence, child abuse, illiteracy, slumlords, the anti-war movement, illegal immigration, police brutality, student protest, sex education, soldiers returning from Vietnam and PTSD, racism, euthanasia, and the illegal drug trade. Spelling intended the show to be about the characters' relationships, and he promised that the Squad "would never arrest kids ... or carry a gun or use one."
The show was loosely based on creator Bud "Buddy" Ruskin's experiences in the late 1950s as a squad leader for young undercover narcotics cops, though it took almost 10 years after he wrote a script for the idea to be green-lighted by ABC Television Studios.
The shows Hogan's Heroes (1965-71), Star Trek (1966–69), I Spy (1965–68), The Bill Cosby Show (1969–71), Room 222 (1969–74), Mannix (1967–75), Mission: Impossible (1966–73), Julia (1968–71), The Flip Wilson Show (1970–74), and The Mod Squad (1968–73) were among the first programs to feature African-Americans as stars since the stereotyped roles of Amos 'n' Andy and Beulah (ABC, 1950–53). Significantly, The Mod Squad presented an African-American character (Linc) as being on an equal footing, as roles went, to the Caucasian characters (Pete and Julie). In one Mod Squad episode, the script called for Linc to give Julie a "friendly kiss". Since the first interracial kiss on an American television show was in 1968, this was still fairly new territory in popular culture. The studio was frightened of a negative public reaction, so they asked Spelling to cut it:
"You can't do that," I was told. "You can't have a black man kissing a white girl." I won and ABC agreed to let it in, but they warned me I'd receive thousands of complaint letters. I didn't get one.