20 Fashionable Facts About Miami Vice


Though its extra-large “car phones” and pastel-hued costuming decisions might seem laughable to some today, Miami Vice’s impact went far beyond the small screen. From music to travel to fashion to facial hair, no corner of American culture was left untouched by the huge presence of officers Sonny Crockett (Don Johnson) and Ricardo Tubbs (Philip Michael Thomas). Throw an Armani jacket over that pink T-shirt and let’s revisit one of TV’s most groundbreaking crime series.


There have been differing opinions as to who came up with the idea of “MTV Cops” as a summary for what Miami Vice should be. While many sources claim that it was Brandon Tartikoff who scribbled down the two-word idea as a brainstorming memo, show creator Anthony Yerkovich has maintained that he spent years developing the idea that would become Miami Vice. “I thought of [Miami] as a sort of a modern-day American Casablanca,” Yerkovich told TIME in 1985. “It seemed to be an interesting socioeconomic tide pool: the incredible number of refugees from Central America and Cuba, the already extensive Cuban-American community, and on top of all that the drug trade.”

Regardless of whether you believe the story about the Tartikoff memo, there’s no denying that Miami Vice did become a cop show for the MTV generation. “The show is written for an MTV audience, which is more interested in images, emotions, and energy than plot and character and words,” said Lee Katzin, who directed two episodes of the show’s first season.


Prior to Miami Vice, Yerkovich was a writer and producer on Hill Street Blues. In 1983, a year before Miami Vice’s premiere, actor Dennis Burkley appeared in four episodes of Hill Street Blues, playing a racist biker named “Sonny Crockett.”


Producers showed interest in both Jeff Bridges and Nick Nolte for the role of Crockett; both passed, reportedly to focus on their film careers. Gary Cole—who played a smuggler in season two’s “Trust Fund Pirates”—also auditioned for the role of Crockett.


Though the casting conversation kept coming back to Don Johnson for the role of Sonny Crockett, the network was against casting him, deeming him pilot poison. “I had made five pilots for Brandon Tartikoff back then, and none of them were picked up,” Johnson told Rolling Stone.


Ultimately, the Crockett role came down to two actors: Don Johnson and Larry Wilcox, who played “Jon” on CHiPs for five years. In 2011, on his official fan site, Wilcox recounted how it all went down:

“Michael Mann asked me to read for this series called Miami Vice. He asked if I would grease my hair back and have stubble and moustache and be a hard ass. I said sure ... My agent told me they had read tons of actors and could not find the right guy. They had read even Don Johnson originally according to my sources.

When Universal saw my screen test they went crazy, saying that I was one of the finest and most intense actors they had ever seen in a screen test and told my agent, David Shapira, that I should have been a screen star with that intensity. I wallowed in the ego of those statements and of course … agreed.

Then they said that, ‘We need you to read with other actors to see if we can find someone that will be good with you.’ I read with many actors and did stunts and fight scenes and all kinds of crap for Michael Mann and the writer. Later I found out that the writer of the original series pilot did not want me and was perhaps just using me to read other actors. I went and read for NBC for the final decision and Brandon Tartikoff, the esteemed president of NBC, said in his book, that ‘Larry Wilcox was the choice for Miami Vice.’

On the day before Christmas, after helping them (Universal and Michael Mann) to find an actor, taking hits to my face in fight scenes, and all of the other such tests … I was informed that it was all bullsh*t and they were not going to use me and in fact were going to use Don Johnson. It was a cold blow and a manipulative blow the day before Christmas and I was upset and dejected. I wondered about all the compliments and all the hoopla and the lies or truth of it all. I still do not know what happened but it could have been the writer, it could have been an agent pulling a move with other actors in some other production if they would take Don Johnson on Miami Vice, or it could have been Don was just great. In retrospect, I think they made the right choice!”


By DougW at English Wikipedia - Transferred fromen.wikipedia to Commons., Public Domain

Like his cutting-edge fashion choices, Crockett was immediately associated with his beloved Ferrari. In the series’ earliest episodes, he drives a Ferrari Daytona; in actuality, his Ferrari was a custom-built 1980 Corvette. Unhappy that the series was using an imposter, Ferrari filed a lawsuit against the show’s creators. Ultimately, both parties came to an agreement whereby the car-maker would supply the series with two brand-new Ferrari Testarossas—but only if the old “Ferrari” was destroyed on the show. (It was.)


Given the show’s commitment to authenticity, by shooting in Miami—not to mention its music licensing rights—Miami Vice was one of the most expensive shows of its decade, with an average cost of about $1.3 million per episode.


In discussing the genesis of Miami Vice’s pastel-heavy costuming and production design, executive producer Michael Mann explained that it was the result of two things: a vacation he had taken to South Beach several years before the show’s debut, and a couple of color chips he found at the paint store. "I was playing around with them and I realized: three colors become thematic, two colors don't," Mann told the Los Angeles Times in 1987. "Three colors, you can actually start telling a chromatic story. You can create a mood with three colors."


Jan Hammer’s “Miami Vice Theme” became a huge radio hit, going all the way to number one on the Billboard chart, and remaining there for 12 weeks—a record for a television theme song.


When Miami Vice premiered, Miami and Miami Beach were not the destinations people flock to today; the blighted backgrounds seen in the show are 100 percent authentic. In 1984, the same year the show premiered, Miami was dubbed America’s “Murder Capital.” But the series played an essential part in rehabbing the city’s infrastructure, and its reputation.

“When we were there, it was all retirement apartments that were dilapidated and rundown,” Johnson told Rolling Stone. “We painted the facades of virtually every building up and down Collins Avenue and Ocean Avenue to match the color palettes that we had for the show.” The show’s popularity led to a huge influx of tourists (many of them European), and as a result, improvements to the area’s hotels, restaurants, and other visitor attractions—a phenomenon that’s often referred to as “The Vice Effect.”


Miami Vice’s pastel-leaning design mandate included what audiences saw in the background. In order to help achieve this (Mann had declared that “no earth tones” were to be visible), the show’s production team was often tasked with prettying up the historic buildings that would be seen in the background of a shot, which meant that boring beige tones could be reworked in shades of pink, blue, and beyond. Seeing the opportunity for a powerful ally in their quest for recognition and protection of the hundreds of historic Art Deco buildings that lined the beach, the Miami Design Preservation League (MDPL) was able to work in concert with the show’s producers to make South Beach pretty again. “Miami Vice helped politically, economically and artistically,” MDPL co-founder Michael Kinerk said. “I have absolutely no doubt. It certainly put the Art Deco district on the world map.” Mann even ended up sponsoring one of the first editions of Art Deco Weekend, an annual event that continues to this day.


One thing that made Miami Vice so groundbreaking was its use of popular music, and its ability to popularize music. Many of the day’s best-known musicians lent their tunes (and sometimes their acting chops) to the series. The show’s high budget was made even higher with the $10,000 that was allotted for music rights for each episode—an amount that allowed them to showcase music from The Rolling Stones, U2, Eric Clapton, and The Who. For the record labels, it was also a surefire way to see a boost in sales. The series even packaged some of these songs into a number of official series soundtracks.


NBC Television/Hulton Archive/Getty Images

It’s impossible to think of Miami Vice without picturing Crockett’s iconic T-shirt-with-an-Armani-jacket look. A 1985 TIME cover story talked about the series’ impact on the fashion industry:

“‘The show has taken Italian men’s fashion and spread it to mass America,’ says Kal Ruttenstein, a senior vice president of Bloomingdale’s. ‘Sales of unconstructed blazers, shiny fabric jackets, and lighter colors have gone up noticeably.’ After Six formal wear is bringing out a Miami Vice line of dinner jackets next spring, Kenneth Cole will introduce ‘Crockett’ and ‘Tubbs’ shoes, and Macy’s has opened a Miami Vice section in its young men’s department. TV cops have never been so glamorous. Says Olivia Brown-Williamson, who plays Undercover Detective Trudy Joplin on the show: ‘Who wanted to look like Kojak?’”


While it was important that Crockett and Tubbs be fashion-forward, Johnson also made some tweaks to his outfits to deal with the logistics of playing a Miami cop. “It was the eighties, man,” Johnson said. “It was all about what it looked like. I took what was handed to me and I turned it into my style. The rolled-up sleeves were a function of the fact that I had to have a jacket to cover the gun and the holster. I just stripped everything down to the bare minimum. I didn't wear socks because it was too hot to wear damn socks. And the stubble was born out of the character, because it was intimated that he had been up partying with drug dealers for two or three days at a time. That was sort of an unspoken thing, which is why he was always unshaven and looked like he slept in his clothes.”

To maintain Crockett’s five-o-clock shadow, "I shave with a sideburn trimmer," Johnson told People. Fans of the show—and its facial hair—had an even more appropriate option: the Miami Device, which was named for the series … until its manufacturer worried that they might be sued, and changed it to the Stubble Device. In either case, no one was buying it; the trimmer was quickly discontinued.


By 1983, Ray-Ban was on the brink of collapse, until Tom Cruise donned a pair of their Wayfarers in Risky Business, making them the shades to own in the '80s. While Risky Business helped the brand sell 360,000 pairs of the sunglasses in 1983, Miami Vice—and Johnson in particular—helped to push that total up to 1.5 million by 1986.


Though he always claimed that it stood for Energy, Growth, Opportunity, and Talent, many others swore that the “EGOT” necklace Thomas wore around his neck was a sort of self-fulfilling prophecy of the awards he hoped to claim: Emmy, Grammy, Oscar, and Tony. Thomas has yet to be nominated for any of those accolades (though he did score a Golden Globe nomination, for Miami Vice, in 1986).


By the end of season two, Johnson’s contract was up—and he was ready to bolt. When filming resumed on the show and Johnson had still not negotiated a new contract, he was a no-show on the set. “We’re shooting around him for now,” an anonymous network executive said at the time. “But it’s costing $50,000 a day to shoot without him, and we’re not going to let him drag the show down with him.” So the network came up with a plan: they tapped Mark Harmon to take over for Johnson. Eventually, both sides came to an agreement—one that made Johnson one of the highest paid actors of the 1980s.


Though reports of onset rivalries plagued the series, both Johnson and Thomas vehemently denied it. While Thomas admitted that the two didn’t socialize much outside of their workdays, he told People that, "I like Don a lot. We have a good time." He went on to explain why Johnson’s overshadowing popularity was a good thing: "I liked that Don was getting the publicity. I wanted the mystique. The bigger he got, the bigger we got."


By the time Miami Vice’s third season rolled around, the show was shifted from the 10 p.m. to 9 p.m. Friday time slot, which pitted it against ratings juggernaut Dallas. For many insiders, this contributed to the show’s decline in popularity. On March 21, 1987, TV Guide ran a cover story titled, “Dallas Drubs the Cops: Why Miami Vice Seems to be Slipping.”


A few years after Miami Vice's finale, Thomas signed an agreement to become the spokesperson for the Psychic Readers' Network, where he promised that "together with the world's most powerful and influential psychics," The Philip Michael Thomas International Psychic Network could help callers live their best lives. Too bad he couldn't have predicted that he'd end up suing the company for violating his contract, and would spend the next several years arguing his case in court. In 2002, Thomas was awarded $2.3 million. In the meantime, the company brought in "Miss Cleo" to replace the former Miami Vice star. 

8 Enlightening Facts About Dr. Ruth Westheimer

Rachel Murray, Getty Images for Hulu
Rachel Murray, Getty Images for Hulu

For decades, sex therapist Dr. Ruth Westheimer has used television, radio, the written word, and the internet to speak frankly on topics relating to human sexuality, turning what were once controversial topics into healthy, everyday conversations.

At age 90, Westheimer shows no signs of slowing down. As a new documentary, Ask Dr. Ruth, gears up for release on Hulu this spring, we thought we’d take a look at Westheimer’s colorful history as an advisor, author, and resistance sniper.

1. The Nazis devastated her childhood.

Dr. Ruth was born Karola Ruth Siegel on June 4, 1928 in Wiesenfeld, Germany, the only child of Julius and Irma Siegel. When Ruth was just five years old, the advancing Nazi party terrorized her neighborhood and seized her father in 1938, presumably to shuttle him to a concentration camp. One year later, Karola—who eventually began using her middle name and took on the last name Westheimer with her second marriage in 1961—was sent to a school in Switzerland for her own protection. She later learned that her parents had both been killed during the Holocaust, possibly at Auschwitz.

2. She shocked classmates with her knowledge of taboo topics.

Westheimer has never been bashful about the workings of human sexuality. While working as a maid at an all-girls school in Switzerland, she made classmates and teachers gasp with her frank talk about menstruation and other topics that were rarely spoken of in casual terms.

3. She trained as a sniper for Jewish resistance fighters in Palestine.

Following the end of World War II, Westheimer left Switzerland for Israel, and later Palestine. She became a Zionist and joined the Haganah, an underground network of Jewish resistance fighters. Westheimer carried a weapon and trained as both a scout and sniper, learning how to throw hand grenades and shoot firearms. Though she never saw direct action, the tension and skirmishes could lapse into violence, and in 1948, Westheimer suffered a serious injury to her foot owing to a bomb blast. The injury convinced her to move into the comparatively less dangerous field of academia.

4. A lecture ignited her career.

 Dr. Ruth Westheimer participates in the annual Charity Day hosted by Cantor Fitzgerald and BGC at Cantor Fitzgerald on September 11, 2015 in New York City.
Robin Marchant, Getty Images for Cantor Fitzgerald

In 1950, Westheimer married an Israeli soldier and the two relocated to Paris, where she studied psychology at the Sorbonne. Though the couple divorced in 1955, Westheimer's education continued into 1959, when she graduated with a master’s degree in sociology from the New School in New York City. (She received a doctorate in education from Columbia University in 1970.) After meeting and marrying Manfred Westheimer, a Jewish refugee, in 1961, Westheimer became an American citizen.

By the late 1960s, she was working at Planned Parenthood, where she excelled at having honest conversations about uncomfortable topics. Eventually, Westheimer found herself giving a lecture to New York-area broadcasters about airing programming with information about safe sex. Radio station WYNY offered her a show, Sexually Speaking, that soon blossomed into a hit, going from 15 minutes to two hours weekly. By 1983, 250,000 people were listening to Westheimer talk about contraception and intimacy.

5. People told her to lose her accent.

Westheimer’s distinctive accent has led some to declare her “Grandma Freud.” But early on, she was given advice to take speech lessons and make an effort to lose her accent. Westheimer declined, and considers herself fortunate to have done so. “It helped me greatly, because when people turned on the radio, they knew it was me,” she told the Harvard Business Review in 2016.

6. She’s not concerned about her height, either.

In addition to her voice, Westheimer became easily recognizable due to her diminutive stature. (She’s four feet, seven inches tall.) When she was younger, Westheimer worried her height might not be appealing. Later, she realized it was an asset. “On the contrary, I was lucky to be so small, because when I was studying at the Sorbonne, there was very little space in the auditoriums and I could always find a good-looking guy to put me up on a windowsill,” she told the HBR.

7. She advises people not to take huge penises seriously.

Westheimer doesn’t frown upon pornography; in 2018, she told the Times of Israel that viewers can “learn something from it.” But she does note the importance of separating fantasy from reality. “People have to use their own judgment in knowing that in any of the sexually explicit movies, the genitalia that is shown—how should I say this? No regular person is endowed like that.”

8. She lectures on cruise ships.

Westheimer uses every available medium—radio, television, the internet, and even graphic novels—to share her thoughts and advice about human sexuality. Sometimes, that means going out to sea. The therapist books cruise ship appearances where she offers presentations to guests on how best to manage their sex lives. Westheimer often insists the crew participate and will regularly request that the captain read some of the questions.

“The last time, the captain was British, very tall, and had to say ‘orgasm’ and ‘erection,’” she told The New York Times in 2018. “Never did they think they would hear the captain talk about the things we were talking about.” Of course, that’s long been Westheimer’s objective—to make the taboo seem tame.

Back to the Future Fan Theory Changes the Meaning of a Famous Line

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

No matter how many times you've watched the 1985 sci-fi classic, there's always something new to look for in Back to the Future. Writer-director Robert Zemeckis and screenwriter Bob Gale packed the movie with thoughtful details, from Doc Brown's foreshadowing of Back to the Future Part II to a subtle homage to Stanley Kubrick. As Express reports, one of these easy-to-miss details is a short dialogue exchange during the climax, and once you start paying closer attention to it, it could change the way you watch the rest of the movie.

Redditor amanwhodrinks recently laid out his observation in the r/FanTheories subreddit. According to him, Doc's decision to heed Marty's warning from 1955 and take steps to save his own life in the present isn't the abrupt character change it seems to be.

In the past, Doc worries about how time travel might affect the future, and he refuses to hear what the future has in store for him out of fear he might disrupt the space-time continuum. In the present, Marty finds that Doc ended up listening to him after all. When he asks what made him change his mind, Doc responds, "I figured, what the hell."

The Reddit post argues that we see the exact moment when Doc has his change of heart. When Doc is preparing the DeLorean for time travel, Marty explains how his dad won over his mom by standing up to Biff, something he’s never seen his father do before. Doc responds, “Never?” while looking at the restored picture of Marty and his siblings. Marty says, “Yeah, why?” and Doc says “Nothing,” before returning to the task in front of him.

On first viewing, this exchange may not seem important enough to justify a pause in the action so close to the climax of the film, but according amanwhodrinks, it’s there for a good reason: “My theory is that Doc had a major epiphany in this scene. At that moment, when he saw the restored picture of Marty and his brother and sister, he realized that you can completely change the past and still have a positive and congruent outcome on the future without destroying the space-time continuum.” If this hypothesis is accurate, Doc’s decision to influence his own fate at the end of the film is part of a developed character arc, rather than a snap decision made just for the hell of it.

This interpretation is tame compared to some of the theories that have been built around Back to the Future. Some creative fans think that the trilogy is an elaborate chiasmus and others say that Doc Brown is suicidal.

[h/t Express]