While Rush Hour (CBS) occasionally features rather funny writing, it’s main bullet point seems to be the terrible production quality which is on par with the worst NBC shows. Of course, the show is cheaply made, but some of the more glaring mistakes could have easily been avoided by taking a little extra care (or at least one more look at whatever you’re filming).
This post is about episode 11 in the show’s first (and thanks to early cancellation, last) season. Captain Cole has a date at the LA Concert Hall (also known as Walt Disney Concert Hall), but it doesn’t really go as planned. The guy she dates is a total bore, and for good reason: he’s talking like he wants to advertise something.
But it’s not just about looking good. CrossFit is a way of life.
Huh. Is that a fact?
Yeah. Cardio boxing for endurance and tai chi for precision and focus.
Fantastic, yeah, considering CrossFit isn’t just a way of life, it’s also a real product, so this dialogue turns out to be actual advertising. And it’s definitely not a coincidence either, since the CrossFit brand is dropped on another CBS show as well – American Gothic (episode 7):
So, how married are you exactly?
Very publicly married with two kids, as you know.
And yet you still somehow find the time for… CrossFit, I’m guessing?
No, actually she finds time to fool around with her lesbian lover, but I disgress.
Anyway, of course things go sideways when armed gangsters storm the concert hall and take hostages. Before all that, we get a look at the concert hall’s loading dock where we can spot a very sloppily redressed sign:
Of course it was too expensive to print a new sign instead of just taping over the real phone number. Renting the LA Concert Hall was probably cutting into the budget so much nothing was left to put up a proper sign.
When Cole finds out there’s something going on, she pulls out her gun (on a date? no wonder she’s not dating well!) and her cell and – as luck would have it – she has the LAPD on speed dial:
Unfortunately, her phone doesn’t have service so she can’t actually place the call. She tosses her phone and moves on just to find two guys on the ground along with a purse and another cellphone. After some shooting, she grabs the phone from the ground (why she ditched her own phone in the first place is beyond me) and hides in an unlocked room. Here, she uses the phone she picked up to call the cops, and lo and behold – it has service!
What we see is the lock screen of an Android phone (although it looks like it was doctored as there’s no carrier designation in the upper left corner). While there’s definitely a way to call the police or emergency services from the lock screen, I doubt it would show up as “LAPD” just like on her own phone – it just makes no sense, especially after learning later on that the cell belongs to a person who lives in Switzerland. Instead, it would likely say “Emergency Services” or something unspecific like that.
Cole manages to call for help and the cavalry arrives. She’s on the move through the venue, looking for the kidnappers. Suddenly, the phone has no reception any more. Despite being an experienced police woman, she’s standing out in the open where everyone can see her, and that’s exactly what happens: she gets jumped. She manages to knock her attacker unconscious and would be able to go into hiding, but she doesn’t. Instead, she’s kneeling down basically right next to the downed guy and rifles through his duffle bag. Oh well, at least she gets some intel about the kidnappers.
She then sends a short message to Carter’s phone:
Carter (while looking at his phone)
Carter (reading aloud)
“I’m upstairs. Alone.”
Ah, this must be that Latin chick I met at the club last night.
Carter (writing message)
Busy right now. Will hit your sexy ass back later.
Come on, you worthless piece of…
Carter (reading aloud)
“Carter, you loudmouth jackass.”
Carter runs to the commander to tell him about this revelation when Cole starts to type another SMS:
However, thanks to the autocorrect function, the message she actually sends reads:
That’s not how autocorrect works – she should have seen the wrong words as she was typing the message, and since we could see her screen, it’s clear there was no autocorrect at work here. Not to mention that it’s highly unlikely to get the word “grenade” corrected to “Teddy” and the word “Picture” to “Peanut” – at least the second word is so damn common that it would never be autocorrected even by the worst autocorrect ever. What’s also odd is that the message was supposed to read “Grenades, Picture of … Pickering” yet the word “of” vanished entirely. It’s also noteworthy that her previous SMS didn’t have any issues in that regard despite using words like “jackass” and “loudmouth” which would be equally prone to auto correction.
Of course, Cole gets caught and is used by the kidnappers to communicate their demands to the police outside. The cops send a negotiator to, well, negotiate. As you can see, he’s clearly the only one at the top of the stairs aside from the kidnapper and Cole:
So why is there someone standing behind him in the reflection?
Ah, it’s probably nothing (or it’s the steadycam operator, which is more likely).
After much back and forth, the two detectives decide to sneak inside the theater to get to Cole. But the entire building is surrounded by police snipers, so it’s kind of difficult to get inside. Their solution? Dress up like theater guests and just go inside via a stairwell on the back of the venue. I have the feeling police snipers would definitely report two civilians sneaking around the area but maybe the snipers fell asleep, who knows? Even if the snipers knew the detectives played dress-up, they’d still have to report it since order was that nobody gets in or out (especially not Carter and Lee, who have been more or less banned from the area for disobeying orders).
But they do get in via an air duct and quickly stumble upon a kidnapper:
There’s a clock hanging on the wall. It’s 9:55pm and 20 seconds.
After Lee downs the kidnapper, Carter comes out of the air duct and the clock still shows the exact same time – in fact, the seconds don’t move at all during the entire scene. The clock is obviously out of batteries in order to make preserving continuity easier, but since it’s so clearly visible, the effect this achieves is exactly the opposite. The timeline fits, though, as we can see on Carter’s cellphone:
Ah well. Shouldn’t expect too much from these movie adaptations, should you? These mistakes aren’t exactly shocking, but they really show the creators aren’t exactly commited to excellence either.