Gordon Moorehead Rides Again
|Game(s)||Grand Theft Auto V|
Grand Theft Auto Online
|Main Character(s)||Gordon Moorehead|
Gordon Moorehead Rides Again is a detective drama radio show and animated television show, initially broadcast between the 1940s and 1950s on the Vice City Broadcasting System and CNT.
The show has three main characters, detective Gordon Moorehead (also called George Moorehead), his assistant Molly Malmstein and their Hispanic companion Pablo, as well as the Chief, the police chief of the Vice City Police Department.
The show makes a comeback in 1984, airing on VCPR in Grand Theft Auto: Vice City Stories. VCPR hosts Michelle Montanius and Jonathan Freeloader state that the show is returning after thirty-two years, suggesting the show was cancelled in 1952. Feminist Michaela Carapadis criticizes the show, whilst the shows announcer (voiced by J.R. Horne) calls the show's protagonist Gordan Mooreland, Gerald Moorehead, George Moorecock and Jeremy Moorehead. The show returns in GTA V on the CNT network, in the form of an animated show from the CNT archives.
In the Heists Update, a plastic mask of the titular character, Gordon Moorehead, has been added.
The program is likely a parody of radio (and later television) detective programs popular in the 1940's and 1950's such as Dragnet and Dick Tracy which often had "special offers" marketed towards children.
Moorehead and Malmstein search for the missing fisherman Pete Banbury, who they believe to be in the city's swamps. They locate his daughter, Lily, who Moorehead kills due to his fears that without a father she would become a prostitute, although her father later states she wanted to be a teacher. Moorehead and Malmstein meet the Chief, who is initially reluctant to allow them to continue their investigation but relents, stating that Moorehead can kill whoever he thinks is necessary. The two meet Pablo and split up, with Moorehead staying with Pablo whilst Malmstein goes through the swamp in search of Pete Banbury. She eventually locates him, informing him of his daughters death. Pete, distraught, begins to cry and Malmstein questions his masculinity and claims he is tearing at her clothes, calling out to Moorehead. Moorehead then kills Pete with napalm, for organizing a prostitution ring and holding back real estate. At the end of the episode, Malmstein's breasts explode for no reason other than give the title of the episode some context.
Gordon and Molly are now working in Los Santos after moving out of Vice City. As Gordon reminisces about the time he spent with Pablo, the chief appears (along with the Redwood Cigarettes Indian) and informs Gordon that the Soviets are infiltrating America by using the movie industry to spread Communist propaganda. After agreeing to stop the Soviets, the four of them smoke on the Indian's "peace pipe" (a vintage commercial of Redwood Cigarettes plays after this). After smoking on the "peace pipe", Gordon, Molly and the Redwood Cigarettes Indian make their way to the movie studio where Gordon asks the security guard (who is a Nazi) where the manager is. The guard responds by saying he hates them (the Soviets) so much and becomes angry. After leaving the studio, the trio go into a bar where Gordon unknowingly meets one of the Soviets named Igor Pablovich, and calls him a "Real American" and drinks at the bar. After having some drinks the trio confronts the manager: Mr. Zelder, who claims he has nothing to do with the Soviets and instructs Gordon to go to the production room where all the films are being made. When Gordon enters the production room he catches Igor and the Soviets in the act making Communist propaganda. The leader of the group tries to get away but Pablo, who was hiding behind a wall, trips him and both he and Gordon burn the Soviet with napalm, just like what they did in the old days. The ending shows the five of them celebrating in Gordon's office and smoking a pack of Redwoods.
|Gordon Moorehead||A politically incorrect detective who reinforces the 'stereotypical man' of the 1950s, as he hates Communists, believes all foreigners are uncivilized, is incredibly misogynist, and reaches conclusions based on hardly any facts. He is voiced by Lloyd Floyd.|
|Molly Malmstein||She is Gordon's assistant, Molly is a woman with little inteligence and a stereotype of the fragile woman. She is voiced by Jen Cohn.|
|Pablo||A Mexican stereotype character who is always offering tortilla chips and tequila to solve the problem. He is voiced by Lloyd Floyd.|
|Chief||A clichéd police chief. He is voiced by Jeff Steitzer.||N/A|
|Pete Banbury||A criminal, also know as the Fisherman. He is voiced by Jeff Steitzer.||N/A|
|Lily Banbury||Daughter of Pete Banbury.||N/A|
- Friendly Napalm (formerly)
- Los Santos Affordable Homes
- Redwood Cigarettes
- In "Moorehead And The Soviet Tit Wank", in the beginning segment, a police siren can be heard; this is the same siren that police cars in L.A. Noire have.
- In the same episode, the newspaper boy who says "Extra! Extra! Read all about it!" has the same voice as a non-playable newspaper boy in L.A Noire. This boy can be found on the south side of MacArthur Park.
- The newspaper boy in the beginning may also be a reference to the newspaper boy in Red Dead Redemption, as both have similarities to each other.
- The opening shot of the "Vinewoodland Sign" at the beginning and the perverted old studio boss taking advantage of a young aspiring actresses may be references to L.A Noire, specifically the shot of the "Hollywoodland Sign" in the game's opening credits and the case "The Fallen Idol" that revolved around a perverted old movie director who molested a teenage girl trying to get into movies. The scene where the Native American Chief offered to let the others smoke from his "peace pipe" may also parody the plot of the case Reefer Madness.
- In the same episode, the police chief bares a similar facial appearance to the United Liberty Papers Contact, but wears an FIB badge on his chest. Which is ironic as the The Contact works for the rival agency, IAA, and he despises the FIB.
- At the end of the aforementioned episode, you can see a 1947 copyright, a nod to the year L.A. Noire is set in. Despite this, the show retains a noticably modern animation style. Also, Molly mentions the program was now on television, while in the real world, the television was not yet entirely commonplace and most cartoons were still commonly short animated films shown in movie theaters.