The second part of this story was told on Homicide S6 E5, also titled Baby, It's You. I'll tell what happened here for those who can't track down the Homicide episode. The police got evidence that 3 years before her death her father treated Brittany in the ER in Baltimore for vaginal bleeding. Her father asked the ER staff to be discreet about what happened to avoid upsetting her mother. For some strange reason the ER staff went along with this. More recently, a teenage boy who was in love with Brittany saw her being attacked at her home in Baltimore 2 weeks before her death. Unfortunately, the boy couldn't see the attacker. The police presumed the attacker was her father since his car was in the driveway. The father gave an alibi (which checked out) that he was with another woman (with whom he was having an affair). Suspicion then switched to Brittany's mother. Her father said her mother regularly physically abused their daughter. The police question her mother. She admits to sexually abusing her daughter, causing her death. The mother was jealous of Brittany because her husband paid more attention to her. She hurt Brittany because she was angry at her husband. The episode ends with Stevie Winwood of Blind Faith singing Can't Find My Way Home. It's interesting to see this episode and the Law & Order episodes back to back to contrast the stylistic differences in storytelling.
6 Reviews
Where is Part 2???
kreghodge28 November 2020
Seems like at the end of this episode there is still a long way to go. Skota is just telling McCoy that he is about to unearth some very dark parts of the human soul when the main focus goes from the boy with the crush to the father, and it appears that they will pursue this lead, yet there is no follow up episode. And, it is awfully odd to only do a singular episode with the "Homicide" crew, they are usually multi-hour episodes, yet this one is only one hour, with the cliffhanger never having any follow up? Who knows the answer to this???
A human heart's ugly corner
TheLittleSongbird10 June 2021
"Baby It's You" is the second 'Law and Order' crossover with 'Homicide: Life on the Street'. The other being Season 6's "Charm City", which was not great but decent. Both are also episodes where the cases are continued on that show, yet unfortunately the second part of the case for "Baby It's You" is rarely shown. Which makes one somewhat unsatisfied at the end of this episode when one can tell that there is so much more to the case than what has already been revealed.
As a first part of this two part crossover, "Baby It's You" is highly intriguing and impressive. And while not one of the best Season 8 episodes or one of the best of 'Law and Order', it is a very good episode with a lot of great things. Of the two 'Law and Order' and 'Homicide: Life on the Street' crossovers between this and "Charm City", "Baby It's You" is the better of the two. With it feeling a lot more like a 'Law and Order' episode with the 'Homicide: Life on the Street' cast guest starring, whereas it was too much of the other way on that episode which didn't feel right.
Is "Baby It's You" perfect? Not quite. Even for a cliffhanger leading into the second part that is shown on 'Homicide: Life on the Street' the ending was just too abrupt and incomplete. Love the exchange that concludes it, which is very well written and gives JK Simmons a real chance to get a lot of meat out of it, but the ending was too in the air. Personally did think there were a few too many characters and some of the 'Life on the Street' cast weren't that crucial.
Munch is entertaining here and gels better here than he does in "Charm City", but his character writing and dry humour works a lot better on 'Law and Order: Special Victims Unit'.
Did love his one liners though and his chemistry with the ever terrific Jerry Orbach carries the episode very well indeed. The regular cast are excellent, Sam Waterston has real presence and Simmons brings a perceptive and no nonsense character to life. Dan Hedaya excels too as a type of character he specialised at. The writing is tight and thought-provoking, leaving one intrigued throughout. The story is not deliberate or too thin and doesn't feel predictable or convoluted, story-wise only the abruptness of the ending disappoints.
Furthermore, being anti-media/press (very frustrating that they still get away with too much too lightly and also that there are people that believe what they say), it was great to see the media/press portrayed negatively when committing an unforgivable and illegal act here. Something that is made clear in the episode, and one doesn't need to have knowledge of the violated laws to know that they are violating them, so shouldn't be considered a plot hole. Briscoe standing up to them was one of his most satisfying moments of the show up to this point.
Production values are well done, subtly stylish and intimate without being claustrophobic. The music isn't too melodramatic and the direction lets the drama breathe while not dragging the momentum out.
On the whole, very good. 8/10.
As a first part of this two part crossover, "Baby It's You" is highly intriguing and impressive. And while not one of the best Season 8 episodes or one of the best of 'Law and Order', it is a very good episode with a lot of great things. Of the two 'Law and Order' and 'Homicide: Life on the Street' crossovers between this and "Charm City", "Baby It's You" is the better of the two. With it feeling a lot more like a 'Law and Order' episode with the 'Homicide: Life on the Street' cast guest starring, whereas it was too much of the other way on that episode which didn't feel right.
Is "Baby It's You" perfect? Not quite. Even for a cliffhanger leading into the second part that is shown on 'Homicide: Life on the Street' the ending was just too abrupt and incomplete. Love the exchange that concludes it, which is very well written and gives JK Simmons a real chance to get a lot of meat out of it, but the ending was too in the air. Personally did think there were a few too many characters and some of the 'Life on the Street' cast weren't that crucial.
Munch is entertaining here and gels better here than he does in "Charm City", but his character writing and dry humour works a lot better on 'Law and Order: Special Victims Unit'.
Did love his one liners though and his chemistry with the ever terrific Jerry Orbach carries the episode very well indeed. The regular cast are excellent, Sam Waterston has real presence and Simmons brings a perceptive and no nonsense character to life. Dan Hedaya excels too as a type of character he specialised at. The writing is tight and thought-provoking, leaving one intrigued throughout. The story is not deliberate or too thin and doesn't feel predictable or convoluted, story-wise only the abruptness of the ending disappoints.
Furthermore, being anti-media/press (very frustrating that they still get away with too much too lightly and also that there are people that believe what they say), it was great to see the media/press portrayed negatively when committing an unforgivable and illegal act here. Something that is made clear in the episode, and one doesn't need to have knowledge of the violated laws to know that they are violating them, so shouldn't be considered a plot hole. Briscoe standing up to them was one of his most satisfying moments of the show up to this point.
Production values are well done, subtly stylish and intimate without being claustrophobic. The music isn't too melodramatic and the direction lets the drama breathe while not dragging the momentum out.
On the whole, very good. 8/10.
Looking for Part 2
ibris29 November 2020
Jurisdiction
bkoganbing16 August 2020
The14 year old daughter od a rich plastic surgeon is found dead and the ME Leslie
Hendrix concludes the uterine infection that did her in is a result ofone violent
rape.
Father Tom Tammi and wife Melissa Anderman maintain residences in both New York and Baltimore and as a result the cast of Homicide: Life On The Streets is brought in.
Future SVU regular Richard Belzer comes back to New York and his repartee with Jerry Orbach is worth watching the show for,
The grieving parents hire one bottom feeding shyster lawyer plated by Dan Hedaya who is always good and memorable. The kind of lawyer jokes are made about.
The story concludes on Homicide: Life On The Streets.
Father Tom Tammi and wife Melissa Anderman maintain residences in both New York and Baltimore and as a result the cast of Homicide: Life On The Streets is brought in.
Future SVU regular Richard Belzer comes back to New York and his repartee with Jerry Orbach is worth watching the show for,
The grieving parents hire one bottom feeding shyster lawyer plated by Dan Hedaya who is always good and memorable. The kind of lawyer jokes are made about.
The story concludes on Homicide: Life On The Streets.
Green Eyed Monsters.
rmax3048236 December 2013
Warning: Spoilers
This is a two-part story involving a model who was raped in Baltimore and managed to die in New York City, thus precipitating a jurisdictional conflict and allowing the producers to cross the outstanding cast of "Law and Order" with the admirable cast of "Homicide." There isn't really a lot of screen time for any of the characters because there are more than the usual number of them, but Richard Belzer as the Baltimore detective gets the wittiest lines.
A doctor stagger into the ER of a New York hospital carrying the dead body of his daughter, who has just died of toxic shock, the result of an infection incurred some weeks ago during vaginal abrasions that are presumed to be the result of a rape. Of course it's not all that easy. It rarely is.
You should take a dekko at the girl's dead body -- or the stills -- or the flashbacks of her telling the camera, "I love you, Daddy." She's feminine perfection. She could be Milla Jovovich's sister. "How old is she, twenty-one?", asks Benjamin Bratt. "Try fourteen," says the orderly as he wheels away the gurney.
Any male viewer can now understand why in parts of Appalachia and Asia girls of fourteen are married already. We might shake our heads with pity but there's license behind that mask. At the same time it's hard to envy beautiful people, particularly alluring young girls, because we're all going to lose it sooner or later and handsome people have more to lose.
I don't think I'll get into the story any further. Not that the crime theme is complicated. It's really very simple. But there are red herrings and such, and the climax comes as something of a surprise.
This episode is different from any of the others I remember from the series. Instead of a scene changing with the expected PLUNK PLUNK, the show is fulsomely orchestrated, complete with theme songs, and it's only a distraction. I enjoy Richard Belzer in interviews but he has the voice and demeanor of a stand-up comedian. The rest of the cast, familiar with their roles, could hardly be better.
A doctor stagger into the ER of a New York hospital carrying the dead body of his daughter, who has just died of toxic shock, the result of an infection incurred some weeks ago during vaginal abrasions that are presumed to be the result of a rape. Of course it's not all that easy. It rarely is.
You should take a dekko at the girl's dead body -- or the stills -- or the flashbacks of her telling the camera, "I love you, Daddy." She's feminine perfection. She could be Milla Jovovich's sister. "How old is she, twenty-one?", asks Benjamin Bratt. "Try fourteen," says the orderly as he wheels away the gurney.
Any male viewer can now understand why in parts of Appalachia and Asia girls of fourteen are married already. We might shake our heads with pity but there's license behind that mask. At the same time it's hard to envy beautiful people, particularly alluring young girls, because we're all going to lose it sooner or later and handsome people have more to lose.
I don't think I'll get into the story any further. Not that the crime theme is complicated. It's really very simple. But there are red herrings and such, and the climax comes as something of a surprise.
This episode is different from any of the others I remember from the series. Instead of a scene changing with the expected PLUNK PLUNK, the show is fulsomely orchestrated, complete with theme songs, and it's only a distraction. I enjoy Richard Belzer in interviews but he has the voice and demeanor of a stand-up comedian. The rest of the cast, familiar with their roles, could hardly be better.
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