Boats heading for beach with Edward James Olmos' credit (replacing yacht with Gregory Sierra's credit).Atlantis on Brickell Building with Olivia Brown's credit (replacing luxury car pulling up to hotel with Olivia Brown's credit).Ocean with John Diehl's credit (replacing horse racing with John Diehl's credit).Ocean with Michael Talbott's credit (replacing Interterra Building and boat in water at sunset, both with Michael Talbott's credit).Panning beach scene with Saundra Santiago's credit (replacing people laying by pool with Saundra Santiago's credit).Ocean with Miami Vice logo illuminated in pink (replacing static logo).The flock of pink flamingos is one of the shots that remained unchanged throughout Miami Vice's run. The major changes are indicated in bold, although the entire sequence is rearranged with several new shots added and many previous shots being moved, making a direct comparison difficult. The opening sequence used from " Calderone's Return (Part II)" until the end of season 1 is summarized below.
Olivia Brown's credit now appears on screen.Īs with the pilot episode, the "Miami Vice Theme" is incorrectly mixed in these opening episodes and is missing its distinctive synthesised guitar hook. The sequence is essentially the same as in "Brother's Keeper", the most obvious difference being that it is shorter and now ends with a fade (which would have led into the first commercial break) instead of continuing seamlessly into the episode as in the pilot. Waterskiier splashing wave and fade out (replacing waterskiier splashing wave).Luxury car pulling up to hotel with Olivia Brown's credit (replacing luxury car pulling up to hotel).This version of the show's sequence was used from " Heart of Darkness" to " Calderone's Return (Part I)" (as well as in " Brother's Keeper (Part II)", when that episode is split into two parts in syndication) and is summarized below. Once the show was picked up as a series, the opening sequence was slightly modified. Notably, the "Miami Vice Theme" is incorrectly mixed in the pilot and is missing its distinctive synthesised guitar hook. While Olivia Brown's credit did not appear in the original broadcast (she was instead listed as a guest star after the opening sequence), it is added over the shot of the luxury car pulling up in front of a hotel in the syndicated two-part version (where her credit would appear in subsequent episodes). Uniquely, the opening sequence continues directly into the pilot, while the " Miami Vice Theme" is extended and continues seamlessly over the first scene, where Crockett and Eddie Rivera talk on the street corner. Interterra Building with Michael Talbott's credit.People laying by pool with Saundra Santiago's credit.Rolling luxury car fronts with Philip Michael Thomas' credit.The choreography picks up on the theme with images of insect life and daisy-chain connectedness.The original opening sequence used in " Brother's Keeper" is summarized below. Video projections by Roxane Revon give the dance a background of nature: roots and flowers and their watery reflections. Lang’s “Shades of Spring,” her first work for the company, is fresh, inventive and pretty - modestly so. Closing the program that Sarasota Ballet is presenting at the Joyce Theater this week, it caps an evening that feels pleasant and slight, despite being plumped out with two intermissions and a world premiere by Jessica Lang. “Varii Capricci” is an odd trifle, though. For Sarasota Ballet to perform this work is a joke inside a joke, since the regional troupe has acquired its national reputation by transplanting Ashton’s repertory and style to the incongruous environment of the Gulf Coast of Florida. His 1983 work “Varii Capricci” was a kind of against-type joke: It’s set in the Mediterranean and stars a poolside gigolo. The choreographer Frederick Ashton created a style of classical ballet that was clean, modest and very English.
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