Dick Van Dyke charmed audiences for years as Dr. Mark Sloan in Diagnosis Murder, a seemingly light-hearted medical mystery series. For fans delving into Diagnosis Murder Tv Episodes, “The Last Resort,” from Season 6, Episode 9, offers a strikingly different experience. Originally aired on CBS on November 19, 1998, this episode, directed by Christian I. Nyby II and penned by Paul Bishop, steers away from the show’s usual breezy tone, venturing into darker territory. While Diagnosis Murder is readily available on DVD, its current streaming status remains unconfirmed.
For many, including the original reviewer during their younger years, Diagnosis Murder was a comforting afternoon staple. Its appeal lay in the blend of medical drama and engaging mystery, all anchored by Dick Van Dyke’s affable Dr. Sloan. As Chief of Internal Medicine at Community General Hospital in Los Angeles, Dr. Sloan’s life extended beyond hospital walls, moonlighting as a consultant for the L.A.P.D., often collaborating with his son, Detective Steve Sloan, portrayed by Barry Van Dyke.
The familiar supporting cast, including Dr. Amanda Bentley (Victoria Rowell) and Dr. Jessie Travis (Charlie Schlatter), added to the show’s dynamic, often navigating the frustrations of hospital administrator Norman Briggs (Michael Tucci), who preferred their focus remain solely on medicine, not murder. Diagnosis Murder thrived on Dick Van Dyke’s established popularity, reminiscent of Andy Griffith’s successful transition to the mystery genre. It offered a less intense alternative to grittier police dramas, appealing to a mature audience.
While often compared to Murder, She Wrote, Diagnosis Murder maintained a slightly more realistic edge, though it never reached the same ratings heights. The series consistently hovered on the brink of cancellation, saved by its appeal to advertisers targeting older demographics. Season six marked a subtle shift, occasionally introducing darker narratives, and “The Last Resort” exemplifies this change. This episode noticeably lacks the usual comedic undertones, plunging into a serious narrative from its opening moments. Detective Steve Sloan’s unexpected outburst during an interrogation, culminating in him throwing a chair through a one-way mirror, immediately sets a tense atmosphere.
This sudden shift in Steve’s demeanor, after years of his composed, if weary, approach to police work, is particularly jarring, especially given his supposed role as a calming influence on his new, volatile partner, Reggie Ackroyd, played by Joe Penny. Ackroyd is depicted as an abrasive and confrontational officer constantly teetering on the edge of disciplinary action. His erratic behavior is attributed to the alleged kidnapping of his wife and daughter by a criminal named Sykes. The situation escalates when Steve inadvertently kills an unarmed rapist, leading to a cover-up orchestrated by Reggie.
The repercussions of these events force both detectives into a psychiatric rehabilitation program at Community General – described as “a Betty Ford clinic, except it’s for cops.” Under the guidance of Dr. Sinclair (Reginald Val Johnson), they participate in group therapy sessions. Steve grapples with guilt over the cover-up, while Reggie’s grip on reality deteriorates, his anxieties about his family manifesting as vivid and disturbing hallucinations. The central question of the episode becomes: will Reggie find his family, or is a more sinister truth at play?
“The Last Resort” distinguishes itself within diagnosis murder tv episodes for its somber tone and the surprising absence of the typical lighthearted closing scene. The episode concludes on a grim and unsettling note, leaving a lasting impression. Joe Penny delivers a compelling performance as Reggie Ackroyd, portraying a man consumed by rage, remorse, and the immense pressures of his profession. His portrayal evokes a Sylvester Stallone-esque intensity, contributing to the episode’s darker mood. Barry Van Dyke, while effective, benefits largely from the unusual depth afforded to his character’s personal storyline.
In a more traditional Diagnosis Murder subplot, Amanda and Jessie investigate the locked-room murder of a lab technician, providing a familiar element for long-time viewers. Jessie even takes center stage in confronting the culprit, utilizing his seemingly harmless persona to disarm the criminal. This subplot offers a reminder of the series’ classic elements, even within the darker context of “The Last Resort.”
“The Last Resort” stands out amongst diagnosis murder tv episodes. It’s a departure from the typical formula, offering a more intense and psychologically driven narrative. For viewers seeking a different facet of Diagnosis Murder, this episode provides a compelling, albeit darker, exploration of its characters and themes.
