Episode 33: Little Girl Lost

Hutch opens both his heart and home open to an orphaned girl after her father is killed by his two robbery accomplices.

Molly Edwards: Kristy McNichol, Flent: Matt Bennett, Duran: Richard Dimitri, Kiko Ramos: Guillermo San Juan, Nick Edwards: King Moody, Mrs. Ramos: Milcha Scott, Perkowitz: Rebecca Balding, Mike: Lou Cutell, JJ: Paul Pepper, Mrs. Williams: Patricia Wilson, Roy: Ken Sidwell. Written By: Ben Masselink, Directed By: Earl Bellamy.


I’m particularly fond of this episode because it has a tough criminal case to break as well as a glimpse into the guys’ private lives. There is also an unexpected nod to the season in a series that conspicuously avoids specifics. The passionate “euphoric sentimentalism” speech Hutch launches into as the guys drive is one of the classic scenes of the series, and shows both Starsky and Hutch falsifying or at the very least exaggerating their identities as both diversionary entertainment and as a way of hiding or disguising their intimate knowledge of one other: Hutch as curmudgeon, Starsky as optimist. Just why this role-playing is so important to them both is a complex issue and central to the series as a whole, an issue that is worthwhile to examine from all angles. One reason is they simply enjoy irritating each other – and in turn enjoy being irritated – as it keeps them alert and united in a way that is not too emotionally or mentally taxing. It’s also a way of codifying their relationship, as if repeatedly acting out these roles is a form of succor in a world that is, for police officers, extremely dangerous and unpredictable. For another, and I’m drifting into meta territory here, arguing and nit-picking is a way of appearing less compatible, less affectionate, and therefore less threatening to a severely homophobic society. Besides, men in general are less likely to have serious conversations, preferring instead to josh and tease. A fifth and even more complicated reading suggests they instinctively adopt opposing views as a way of becoming a single united entity, two sides of a coin, as it were, and therefore more powerful.

I like how Starsky has both Christmas ornaments and a Star of David on his dash, in joyous contrast to Hutch’s grouchiness. Starsky is relentless in his quest to discover what Hutch has gotten him as a gift, and although there is not a whiff of actual evidence that Starksy knows this gift will likely be both pedantic and disappointing, there is something subtle and truly marvelous in Glaser’s performance that suggests this is true. I don’t know exactly what it is, which is typical of Glaser, but it’s there. Too much credulity, maybe. “You got me that sweater!” he exclaims, not listening to Hutch’s extended rant against commercialization.

At the scene of the shoplifting, Molly, despite her bravado, is genuinely frightened. This is really the only time she shows fear. The rest of the time she’s merely irritated even though life gets exponentially more dangerous for her.

Hutch, who moments before has been railing against the season, tells Mike the Shopkeeper (further evidencing his good memory – they have likely attended to thefts at his store before) that he’ll probably get the “Chamber of Commerce Spirit of Christmas Award”. This tells us Hutch is not antithetical to the season, but instead has been wearied into cynicism by the selfish and antisocial actions of his society. It’s the tenderest among us who sometimes come across as the toughest.

From the first, Starsky is a kid with Molly, Hutch is the adult, and Molly gets this right away. She treats Starsky with affectionate disregard (she calls him “corny”), like she’d treat a kid brother, but she views Hutch with reverence.

Nick Edward’s girlfriend, Peggy, calls Molly to tell her of her father’s accident. That is the last time you see or hear of her, making her a pretty lousy girlfriend.

Nick’s prison sentence was three years. Flent and Duran say it has been two years and six months since they have seen him. Add this number to Nick’s release two months ago. Either Nick got time off for good behavior, or they came to visit him in jail during the first four months of his term.

Why would they let Molly approach the dead body of her father? Even if there wasn’t major gore – and there might have been, the guy might have been shot in the head or through the eye or something – it’s still a dead body, and a child shouldn’t be allowed to just run up and hug it right there on the street like that.  Who’s in charge here?

What is Starsky and Hutch’s knowledge of Juvenile Hall based on? Although it could be simply the sad image of a child being detained during the holiday season, it seems more likely they must have heard some truly harrowing stories or maybe witnessed abuses first hand, because Hutch can’t stand the thought of Molly being there.  And they can’t stand the thought of Guy and Vikki there either in “Crying Child”, to the extent they put Carol in an illegal situation by having her take the children to her house.

Molly seems to have a bit of a Nazi thing. She yells at Starsky and Hutch for being “Gestapo” when they try to arrest her, and say the Williams family run a concentration camp. What are the chances that she’s reading “The Diary of Anne Frank”?

I like how Starsky takes Molly’s boyishness in stride, telling her that hot chocolate will “make a pitcher” out of her. He calls her “Tiger” too.

Starsky puts his hand in Molly glove and she doesn’t seem very alarmed. Are the diamonds in there at that point or does she hide them later? Did Nick ask her to keep them, and if he did, isn’t that a really, really bad idea, even for him? If he did, then he willingly put his own child in danger. And if she knows they’re there, and in fact is the one to hide them in the first place, do you think she knows they’re contraband, and not only that but life-threateningly so? We know she trusts and loves Starsky and Hutch as guardians, but how she feels about them as officers of the law, and how she views The Law itself, remains a mystery. She seems to have inherited her father’s us-and-them mentality, assuming she is alone in solving a problem, even though she has some excellent role models right in front of her.

Neither of the guys are dating Perkowitz, but both make big plays for her. Is this just a default position, there being a woman under thirty-five in the room?

Hutch sits in the dark listening to Molly cry. It’s heartbreaking to witness a child in pain and Hutch is a deeply caring person, but there might be more to this scene than sympathy. He seems half there, and half somewhere else, possibly remembering something he’d rather forget. When Molly asks him point-blank why he took her in, he gives a lame excuse about it being Christmas. She clearly doesn’t believe him, and shouldn’t. Something else is going on here, and it’s fun to speculate. Hutch may be trying to rectify an old personal injustice, perhaps, undo the sins of his own past by helping her with her very present dilemma. This between-the-lines thinking may not have been intentional by Ben Masselink (he may have only intended to show us Hutch’s much-protected softer side) or any of the writers, but it’s inevitable when the actors are so intense, as Soul is in this scene, and when the script itself has so many tantalizing holes.

Flent is tweaking badly as they sit around wondering what to do. It’s never said, but the guy’s a heroin addict along with everything else. Both men are sweating and strange, but Flent is off the charts. Later, as a priest, he’s gotten hold of himself again, becoming eerily calm and in charge. Does this mean he’s high when kidnapping Molly?

Hutch is making his breakfast drink. He has done this a thousand times before. And yet he turns on the blender without the lid, splashing himself. Incredibly, this is the second time he’s done this: he did it in “Pariah”, too.

Starsky asks for salami right after Molly does. Two kids. Hutch makes a hilarious gesture of annoyance.

When Hutch explains to Molly why she can’t live with him, it is for all the reasons he needs Starsky to move in with him. Someone to come home to, someone to cook for, a remedy for loneliness.

Starsky and Hutch should have alerted to being followed to the Williams house. Those two guys don’t seem clever enough to be really subtle or stealthy. And they parked just up ahead. Didn’t the guys think it was strange, two men sitting together in a car on a suburban street? Or was Molly just too distracting?

Why, oh why, do they get Dobey a toilet for Christmas? Not that it isn’t sort of funny, but one wonders if Dobey’s bathroom habits have become legendary. Perhaps he’s on the toilet for a remarkable length of time. Perhaps he had a famous bathroom mishap. Maybe he’s a well-known germaphobe. Whatever it is, it’s about the most humiliating joke ever. A big man and his toilet habits should never be the source of either common knowledge or humor. Coincidentally, in the other episode in which Kiko appears (“Running”), the guys play a similar joke on their boss, giving his phone number on a plumber’s business card. Poor Dobey.

Hutch comes into the room where the uniforms, one guy in a suit, and Starsky are wrapping Dobey’s joke gift. Everyone’s giggling and having a good time, which Hutch proceeds to ruin by saying Dobey was headed that way; they scatter. “Hey,” Hutch says to Starsky, pulling him back. He tells him Dobey was elsewhere and Starsky says, “you really do have a cruel streak in you, don’t you.” For a normally genial, patient person he is actually angry; it’s a brief and fairly harmless flash of temper but it’s there. It’s also interesting how he knows Hutch’s announcement was a way of curtailing everybody’s fun for his own private, punitive amusement.

Even though Hutch is being bitchy, Starsky is indefatigable. He’s singing “Rudolph the Red Nosed Reindeer” as they pull up to the Williams house right after Hutch royally pissed him off, and teases Hutch about knowing the names of the reindeer. Hutch sighs and gives a bitter, genuinely hilarious answer: “Donder, Blitzkrieg, Spritzen” (again, another Nazi reference). “Forget it,” Starsky says. “You ought to be ashamed of yourself.” Hutch gives him an inscrutable look, which seems to imply, if I’m reading it right, that he is ashamed of himself on some level.

I can understand why the idiotic Mrs. Williams falls for the fake priest thing, but Molly never would. She’s too smart. So how in hell did Flent manage to drag Molly from the house?

Hutch has about six Christmas cards on his piano as well as a variety of seasonal decorations. He can’t be a total scrooge.

When the guys arrive, Kiko and Molly are sitting on Hutch’s couch watching TV. Kiko would have had to be there anyway, to let Molly in, which begs the question why he’d be at his big brother’s place without him being there. And yet, later, Kiko is forced to wait in the hall when Molly asks him to go to Hutch’s place, meaning he doesn’t have a key. How did he get in the first time, then?

During this scene, when Starsky teases Hutch about his anti-Christmas feelings, Hutch caves in and grins. He just seems, at that moment, to give it all up. While it’s mainly relief that Molly is all right, it was also probably too much work anyway, being grouchy all the time. Even Hutch needs a break once and a while. Although he picks it up again, irritated by Starsky’s “bm-bm-bm-ing.”

If everyone’s so worried about Molly’s safety, to the point of not letting her return to the Williams house, then why do they allow her to go to Kiko’s house by herself? Twice?

Starsky must be awfully familiar with Mrs. Ramos if he knows about her homemade burritos; he’s come a long way from dismissing Kiko as “not worth it”.

Hutch is upset by Molly’s situation. He sits by himself for a moment, then mutters, “Christmas joy.” Another clue that there’s more going on with him than is obvious. It seems like a familiar refrain, having seasonal expectations crushed. Perhaps this is a reflection on his own unhappy childhood, private anticipation coming to nothing. Or it could be more of a habit with him to blame the peripherals, the way he said, “all America on wheels, what a joke” when pinned under the car in “Survival”.

Starsky lays back and lets Hutch take control of the investigation. But after their meeting with Huggy, he nicely peels off some extra bills. Huggy’s thrilled, but Hutch says nastily, “You didn’t have to tip the help.” Which has unpleasant racial overtones, along with a general bad attitude. Note the ever-cheerful Starsky ringing the decorative bell as they walk away.

The hotel rent must be paid for till the end of the month for Molly to walk in there again.

I love how depressing everything is in this Los Angeles Christmas season, with the sagging decorations, dirty bars, back alleys and junked cars.

After the guys handcuff the bartender and saunter away, can you imagine what the drunken losers in the bar would do? Trash the place, steal the money, and god knows what else.

Molly’s plan has holes. Why doesn’t she take Kiko with her to the hotel, rather than leading the bad guys back to Hutch’s house? It would have been better that way. Also, as the two guys are wrestling with the ice trays – thank god she knew Hutch even had ice, because there’s a good chance he wouldn’t – why doesn’t she make a run for it?

Actor woes: Soul broke his ankle tripping over an iron bar during the chase scene but gamely finished the scene nevertheless. Afterwards, Glaser had to almost threaten him to make him go to the hospital and get it seen to, but as this episode was one of first shot in the season, Soul had to do all the running and jumping in “Murder at Sea” on that taped ankle. Of them both, Soul was the worst for injuries, suffering a broken back (off-season) and other injuries, pneumonia, several bouts of the flu. But they were both injured, and often enough for fans to think ABC’s workplace safety standards were set a mite too low.

“Merry Christmas, Sid,” Starsky says as he presents the prisoner to the uniformed officer, exhibiting an admirable memory for names, then tops it off with a friendly slap on the butt. Overly friendly?

Tag: Everyone celebrates a very California Christmas and exchanges gifts. It’s heartening when Miss Perkowitz mentions the promise of adoption for Molly, and Kiko is lovely when he says having Molly as a sibling is as good as having a brother – it rings true and seems sincere and accepting. However, I have a major problem when someone (Mrs. Ramos, perhaps?) gives Molly a girly type shirt as a gift. Molly seems pleased and says it “wouldn’t hurt” to try it on – and she practically skips out of the room. On her merry way, we surmise, to being a “real girl”. This is both patronizing and deeply sad. Much in the same way Joey is abruptly “refrocked” in the “Ninety Pounds of Trouble” tag, we are supposed to celebrate when a strong, resourceful girl begins to embrace a more stereotypical “feminine” role.

What is Hutch thinking when Starsky reacts with such excitement at the thought of Hutch’s gift? Is there even a moment’s guilt at the principles he’s insisting on? Note that the two of them are wedged together tightly on the sofa even though there is plenty of room to separate. Interestingly, there is not a single mention of the guys’ own families, or any sign of them returning home for the holidays or even calling their mothers.



11 Responses to “Episode 33: Little Girl Lost”

  1. phaedrablue4 Says:

    Ditto for me too. Like, where do you find copies of the original scripts?

  2. merltheearl Says:

    I believe you can get original scripts on eBay; reproductions are inexpensive but it’s also possible to buy originals.

  3. Kit Sullivan Says:

    This is a good episode, one of my favorites. Lots of humour, some heart-string plucking and a couple of slimy bad guys…one of them, “Duran” extra-creepy! All capped off with some action, and you have a great episode.
    Like most S&H episodes, the viewer must turn a blind-eye to some of the more absurd actions of Starsky & Hutch, and the general looseness and foolishness that the producers and scrip-writers seem apply to actual police procedures.
    With Starsky & Hutch’s collecting nearly all evidence & clues without regards to probable cause or warrants, their habit of almost never reading the perps their Miranda rights, coupled with thier own brand of charm and/or brutality when coercing anyone that they see as an opportunity to solve the case, it is a wonder that any bad guys ever get convicted in Bay City. They may have a steller arrest record, but thier sure to be non-existant conviction rate would certainly not warrant a follow-up TV series!
    Trivia: Guest star King Moody (Nick Edwards) is probably most famous for playing “Shtarker”, Siegfried’s witless assistant on “Get Smart” back in the 60’s. Moody also spent several years playing “Ronald McDonald” in national TV advertisements for “McDonald’s” for years prior.
    Young Kristy McNichol is (was) one of those young actors that can hold thier own with seasoned adult veterans such as Soul and Glaser, and actually gives them a good performance to play off of, bringing everyone’s acting in the scenes they share up a notch.
    She made another appearance in an earlier episode (The Hostages), and was just as personable in that one.

  4. Dianna Says:

    Hutch proves once again that his gruff exterior is protecting a very soft heart.

    Starsky’s dangly things on the rearview mirror are a nice symbol of his light-heartedness and enthusiasm, but they are illegal in California today, and I recall that they were in the 70’s as well. Even if they were legal, I have a hard time believing that that a fast car guy would want them obstructing his vision.

    Police should take juvenile shoplifting seriously; I was irritated with Starsky and Hutch for laughing it off. I will try to convince myself they were angry at the shopkeeper for calling it armed robbery, but they didn’t even give Molly a lecture about not stealing. The sight of a mob jeering at the police for dealing with a shoplifter seems ridiculous.

    How many side characters in this series are named Molly, anyway? And how many nearly identical characters does Kristy McNichol play? She’s tougher and less smart than her character in The Hostages, but they are otherwise nearly interchangeable. She does an excellent job, but I see that she plays a tomboy in a later episode too. Sheesh.

    When the newly murdered Nick is lying on the ground with two bullets in his back, there are no holes in his jacket, and no blood. When Molly arrives, the cop does make a half-hearted symbolic attempt to stop her from approaching the body; I guess this is TV shorthand for taking her to the morgue to identify the body.

    Since Molly was not charged with shoplifting, “Juvie” seems like an unlikely destination. It is, after all, jail-for-kids. Surely California’s Department of Social Services had some sort of emergency respite care, even back in the dark ages of the 70’s.

    Hutch’s come-on to Perkowitz was so strong that it took me a minute to figure out what her role was. Default position, indeed!

    Merl is right that Molly is awfully casual about her glove if the diamonds were in there all along. She may stash them in the glove when Starsky and Hutch chase the invaders on their first return to the apartment.

    When Hutch lies awake at night listening to Molly cry, he is not necessarily reliving something in his own life (unless some traumas are revealed in later episodes I have not seen!). He could simply be unsure what to to, and feel helpless to comfort a girl who barely knows him, has an unknown history (neglect? abuse? what kind?), and who might become even more traumatized if he walks into her bedroom at night! It seems really strange the next morning when he lightly tells her, “Cheer up!” I’m sorry, but you don’t say that to a kid whose father has just been murdered!

    Kit Sullivan’s comment about police procedures applies to the DSS procedures in the show, too. There are rules for who can be alone with a foster child. Hutch would certainly have had the 70’s equivalent of a CORI, but that air-headed foster mother would have been required to check a list of who Molly was allowed to go with, even in the benighted 70’s. Why Molly would go with him is indeed problematic. Maybe she perceives that no one will protect her, so she thinks she has to do it on her own.

    The toilet for Dobey may not be as cruel and humiliating as Merl fears. Perhaps Dobey had been complaining about the difficulty of finding a plumber to come fix a leak or replace some fixtures at his house, and this prank gift was just a symbol of that. I hope.

    The writers’ disregard for the integrity of Huggy as a character is irritating. In The Fix, he was clearly a highly trusted friend who would go out on a limb for Starsky and Hutch because he cares about them, but in Iron Mike and Little Girl Lost, he is simply an informer, and as mercenary as any other informer. He has been degraded to the status of “the help” by writers for whom he is a useful tool, rather than a real person.

    I was glad to see Kiko again. Merl notes that Starsky has come a long way from the time when he said Kiko was “not worth it.” Interesting thought, but I expect that anyone who is currently causing Hutch pain is “not worth it” in Starsky’s book.

    When Molly and Kiko are watching TV at Hutch’s apartment, she must have let herself in with a key Hutch had given her, and she invited Kiko to join her. Hutch hasn’t given him a key because he has his own home. That is why Kiko was waiting in the hallway when Molly arrived with the bad guys. (She did not run from them because she wanted to be where Hutch would certainly find her. She obviously had not thought her “bait” scheme through very well.)

    When Starsky says, “Merry Christmas, Sid,” the slap on the butt is not just overly friendly — it is practically a feely.

    Thank you Merl, for expressing dismay about Molly’s Christmas dress. Evidently, acting like a tomboy means, “Something is seriously wrong,” and wearing dresses means, “My life is in order now.” Yuck.

    The first time I watched this episode, I kept stopping my playback and yelling at Hutch to become a foster or adoptive parent, so I was very relieved when they pave the way for adoption in the tag.

    Ah, I’ve gone on too long, again.

  5. Adelaide Says:

    Maybe I’m giving the writers too much credit, but I didn’t interpret Molly’s willingness to try the dress as a “you must be feminine” thing, just a sign that Molly had matured enough to accept a gift she didn’t like gracefully and tactfully rather than don her rude aggressive angry armor. However, I might just be looking at things like a 21st century dum-dum, having not lived through the 1970s.

    I’m sort of depressed that you pointed out a bunch of instances where Hutch is kind of a meanyface that I had never noticed before :\ Oh well, the trade-off for the pleasure of examining things closely I guess.

    I always thought Hutch would benefit from more contact with kids. He obviously likes them a lot and can easily relate to them on an adult level — see Kiko in Running — and it also seems like it would be good for him. I feel like Hutch needs external events and interactions to make him feel good and remind him about the good things in life, and kids are such a strong symbol of the reasons why being a cop is worth it and stuff, which he probably needs reminding of since he’s not exactly the most internally-happy guy around (unlike Starsky, who seems to only get into a bad mood when crappy external things happen, since he’s a naturally happy guy.)

  6. stybz Says:

    This one had a lot of holes, but I do like Kristy McNicol, and she and the guys made up for it.

    I loved the decorations on and in Starsky’s car. He’s got mistletoe on his antenna and there’s also a menorah on the dashboard, too. 🙂 It’s the same kind of blue plastic as the Star of David.

    Did the guys even bother to mention questioning Nick Edward’s girlfriend? I agree that she just disappeared, but no one bothers to track her down, do they?

    I agree that considering her life was in danger, it was stupid letting Molly/Pete walk around as freely as she did.

    Juvenile Hall is often depicted as a terrible place on TV shows. I wouldn’t be surprised if Starsky and Hutch had been there a few times with much more hardened juvenile delinquents. Also, as tough as Molly/Pete was, she was a girl and they probably didn’t think a little 12-year-old girl should be exposed to such a place.

    I’m wondering if the toilet gag is a carry-over from the Running episode, when the last prank we saw them do were business cards plumbing services with Dobey’s number on them. 🙂

    I loved it when Hutch opened the lid and Starsky closed it and said, “None of your business.” LOL! 😀

    I think that dress was ugly. I thought it was a shirt or a jacket. Molly probably figured with all the dress shopping she did with the guys that this was an expected gift, so she made the best of it. Maybe they thought she’d be more inclined to wear that one since it’s not girly at all, IMO.

  7. Bernie Ranck Says:

    I guess I don’t notice all these odd things because I am too focused on these two great actors portraying a different breed of cops. This is, after all not real life, but just the entertainment we loved to watch. These two guys would not have gotten away with 99% of what they did in real life! even in the 70s. But I loved their rough approach and ways of handling things. I loved that they were not the norm of law enforcement. Got to tell you, it was better then anything today puts out on TV..

    The Huggy thing I think is taken out of context here. Being a snitch for Starsky and Hutch does not require getting paid for because Huggy does a lot of shady things, that they can work together and help each other out. In episodes all thru this show it proves how close they were and would be there for each other and had each other’s back. They were friends. So I took it as a joke because Huggy was always trying to something for nothing. Loved his character too.

    I agree with Diana above on here that Hutch laying there thinking was probably that he felt bad and sort of helpless about Molly. He wasn’t sure what to do because he knew he couldn’t keep her and he felt bad that she was really a lost child with no one to care for or about her. He’s a cop and shouldn’t get too attached to these situations, but they both had open hearts for these situations too.

    The dress thing was, from my viewpoint, just typical of the 70 s. They may have thought that she never had a mom or anyone to guide her or help her be a girl IF she wanted too, giving her the opportunity to see if she was acceptant to the idea. Her response of “doesn’t hurt to try” may have been the only time it was offered to her and she thought “why not…never did it before so why not see” maybe she wanted to feel pretty.

    The toilet thing…..I’m not sure of but I liked it because it showed that they all had a sense of humor. It was just an added funnyism to the show.

    I’m not saying there were not a few holes here, like letting her go by herself or maybe they should have gone over with her to view her dad, but all in all I love their bantering back and forth. And I especially love the care they have for each other. This made the show for me. In “Starsky versus Hutch” I was not happy. I didn’t like that they let a girl come between them like that. To see them fight and argue was disturbing to me.

    • DRB Says:

      Soul’s sensitivity for Hutch’s approach to the budding teenager was a highlight for me. He is careful in how he expresses his compassion for her while maintaining a circumspect distance. All of us can imagine how easy it would be for Molly to develop a crush on him; but he limits his comforting touch to the caress on her head when she is so disconsolate about his leaving. She is quite correct in acknowledging his fatherly concern which never wavered–even when he hugs her and tells her she saved his life. Hutch’s sweetness and understanding of “hyper-vulnerable” (is that a word?) people has often been demonstrated but never better than here with Molly/Pete.

  8. Kit Sullivan Says:

    Just a quick question: Why does Starsky bend down and peer underneath the rear of the Torino, then shrug his shoulders to indicate he found nothing unusual? What was he looking for? Is there a missing/ deleted scene or dialogue that would make this relavent?
    Just curious…

    • Becki Says:

      I thought it looked like he thought he saw a quarter in the street, but when he bent down to pick it up, he discovered it was just a bottle cap, or something in that vein. Probably just a fun bit of business tossed in by Glaser. Or maybe he did think he found something only realize it was trash. In any case, it made me giggle and I rewound it to watch it twice.

  9. Miche Says:

    Hi all,

    Wow, today’s the day to make up for lost time as I feel the urge to share comments/feelings that have been rolling around my mind and dancing in my heart for quite a while, some for years.

    I love this eps. It’s warm, sweet and touching. There is a small moment I’d like to talk about. It is when the guys bring Molly home after they pick her up at the store. As they are waiting for her dad to come back, Starsky asks her if he can see her baseball glove and she hands it to him, as Hutch is standing at the far left of the room. Check Hutch’s affectionate smile as he watches Starsky scrunch down to practice a couple of very cute moves. I always get the feeling when I see the wide smile on Hutch’s face that it is more a David moment then a scripted one. It just feels so genuine. You mostly see his profile, yet the smile lights up his entire person. There is something vulnerable he does with his upper body as he smiles and watches Starsky/Paul doing his moves. What Paul does is completely adorable and David’s reaction expresses that. I sense that the way his body reacts is completely spontaneous to the feelings that cross him in that moment. As an aside, and hopefully all this talk about the real-life men is acceptable, I saw David doing a similar move, while watching the SurCon DVDs, as he was intently listening to Paul talk about their time on the show.

    I love the tag, both of the guys sitting so close on the sofa, the look they share when Hutch wishes Starsky a Merry Christmas. I don’t remember ever seeing two male actors look so lovingly and deeply into one another’s eyes. Paul did say in an interview a couple of years ago that both he and David were very comfortable in front of the camera exposing their feelings, that it was all there. He added that back then, it was more uncomfortable to do so in real life, but that now it has become easier for them to talk about and understand their feelings. Awesome!


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