That’s not entirely bad though. By dimming the psychedelic rainbow a few shades and populating the show with harmless, parental-approved characters who, not coincidentally, are easy on the eyes, a larger audience was able to embrace Pete, Julie, and Linc and welcome the three protagonists into their living rooms each week with a minimal dose of controversy. It also prevented the series from becoming a completely dated time capsule of drug-induced trends. In reality, much of the show’s enduring charm rests with the sheer likability of the characters and their portrayers. Despite being either a little overly dramatic at times (Cole and Williams) or often stuck with a drowsy-eyed grin (Lipton), the actors are a huge part of what makes everything here click. Their differences are refreshing even if they seem a bit choreographed and the fraternal closeness each character immediately establishes with the others provides a pleasant feeling of togetherness too often absent in television shows that feature multiple leads. Though all three Mod Squaders are daftly naive at times, they still come across as genuinely appealing characters who manage to balance a heady distrust for authority while still acting responsibly as role models. The other part of the show’s success (judging only from the meagre first half of its initial season that Paramount decided to release for now) lies within the self-contained plots of each episode. I find that one of the most difficult contrasts with modern television versus classic shows comes from the more recent trend of using multiple episode story arcs, transforming the series into a novel-like cliffhanger with each entry whereas shows of yesteryear were more content on isolated mini-movies that completely resolved themselves in that episode. The lack of depth that comes with one-off dominated programmes obviously hinders such shows in comparison. Even if The Mod Squad can’t really compete with the crime dramas found on television in the last decade or so, it’s still a pretty fun show with often entertaining storylines.
The sun-stained California setting and blindingly bright colours help give these 13 episodes an upbeat sugar rush of a lift, translating into easy and disposable viewing for the audience. After stumbling out of the gate with a bloated pilot episode and a few scenes better suited to the gang on Scooby-Doo (which would make its debut only a year after The Mod Squad first aired), the show seemed to settle in nicely, and grew on me in the process. Some things are ridiculous, namely the silly habit of prolonged foot chases and fisticuffs and the insistence on having the three characters use their real names every time they go undercover, but there are several well-meaning instances of socially aware issues being tackled as well. Mere months after the assassination of Dr. Martin Luther King, Jr., Linc offers a subtle tribute without descending into preachiness. Similarly, an exceptional episode guest starring Louis Gossett, Jr. as a Vietnam veteran skillfully explores the difficulties of returning to the everyday obligations of civilian life and even provides an early glimpse of post-traumatic stress disorder. A more dated look at the medical dangers of meningitis, starring Yvonne “Batgirl” Craig, fares a little worse and instead seems overwrought and out of place. Another dud is the episode entitled “The Guru,” about a popular underground newspaper. When the show is off, as it is in these episodes, the frequent unintentional humour and predictable failure to authentically capture the counterculture movement it depends on expose The Mod Squad’s glaring weakness and threaten to turn a fun piece of television history into a sanitised snapshot. Thankfully, the show more often settles in as a highly watchable diversion that stands out among its procedural peers, first, by keeping the focus on the kids and, second, by presenting a diverse cast at a time when television dramas almost exclusively starred middle-age white men. Whether it was a stunt or brave casting, the idea of three noticeably different-looking twentysomethings in equal and leading roles is still compelling. It’s not a concept that can carry a series on its own certainly, but here it doesn’t have to as the actors are all up to the task and the writers largely provide interesting plots. Now if we can only figure out a way to bring “solid” back into the hip lexicon of youth.
The DiscsParamount has taken to the idea of releasing its hour long television shows in split seasons, requiring consumers to make two purchases per season of episodes instead of just one, the opposite of what virtually all other studios have done. Aside from the added expense (which, no doubt, is a significant complaint), I can understand and even halfheartedly agree with this decision. It allows smaller investments of time, thus making the idea of starting 13 episodes worth of a show less intimidating than a full commitment of 26, and I think the packaging benefits as well, since Paramount manages to stuff 4 single-sided discs into a regular width keepcase without the annoying overlapping that has become endemic to multi-disc releases. From a purely self-serving angle, I also like the half-season releases because they allow me to watch and review a show without getting sick of it. I do understand the disappointment as far as the seemingly added cost to the buyer, though, and I think that frustration is justified. Another reason I hesitate to complain too loudly is because Paramount almost always does a superb job with their television releases. The video quality is usually outstanding and this first installment of The Mod Squad is no exception. The 13 episodes spread across 4 dual-layered discs all look fantastic and are presented in standard 1.33:1 aspect ratio. Colours look bright and sharp, with strong detail and adequate amounts of grain. Some scenes are softer than others, but, realistically, I have to think this is by far the best this show has ever looked. These episodes are very clean, with almost no damage. High-end displays may see some combing, as the transfers appear to be interlaced. Audio is crisp and clear. The Dolby Digital 2.0 track sounds as good as one could hope for and Earle Hagen’s theme music pounds out of the speakers. Levels are very even and consistent. My only significant complaint with the technical presentation is a lack of subtitles, an unforgivable omission this late in the DVD game.
Somewhat surprisingly but absolutely welcomed, Paramount added some extra value to the set by including three supplemental featurettes. Disc 1 has “Forming the Squad,” (15:00) a look at how the show and the characters developed, and “Inside ‘The Teeth of the Barracuda:’ 1968" (9:34) which is about the post-hippie counterculture of the year the series premiered. Both feature interviews with Michael Cole (still wearing a large ring on his right hand, but, sadly, no ascot) and Peggy Lipton (who seemingly ages at a much slower rate than mere mortals). The final bonus is on disc 3. “Friends of The Mod Squad” (16:10) looks at a few of the guest stars who appeared during the show’s five-year run. Lipton and Cole return, alongside new interviews with Louis Gossett, Jr., Lesley Ann Warren, Ed Asner, and Tyne Daly. Everyone is very cheerful and happy, without anything negative to say at all. Conspicuously absent from the bonus material is Clarence Williams III, but it’s still great to catch up with Cole and Lipton. One final note, and something that is a constant thorn in the side of TV on DVD enthusiasts, is that Paramount “may” have altered these episodes from their original broadcasts. A disclaimer on the back of the case warns, “Some episodes may be edited from their original network versions.” This usually means either music changes due to licensing costs or the use of syndicated versions. I don’t think the latter is the case here since all episodes are quite substantial at around 50 or 51 minutes long, with the pilot running even longer at over 73 minutes. Any music alterations probably won’t be noticeable to casual viewers and I didn’t detect anything out of the ordinary. I’m not a fan of the non-committal “may” in that disclaimer and would much prefer studios simply detail any changes. An episode listing with synopses and original air dates is included on the inside of the case and this would seem to be the perfect place for mentioning these possible alterations.