Of course, the producers and the writer's room has already made up their minds and will be shooting season 5 shortly, but I do wonder if part of the delay for Castle's renewal by ABC was some kind of series reboot. With Beckett resigned, she can try to resume her life prior to her mother's murder (law school?) or go out on a limb and do private sector P-I, which would require working for another P-I for a year (1800 hours as a protege comes to mind) casting a juicy part for that character, but far more likely is that Smith - who is no doubt some kind of US Congressional heavy hitter living in NYC - is killed and Beckett is lured back to the investigation, as it's her investigation that is the reason for it. (Another note: In light of the new conspiracy evidence in such a scenario, the widow Montgomery might have to kiss that Captain's pension goodbye. . .)
I liked the hookup and the commencement voice over as well. With her life literally hanging by her fingertips, she 'lets go' of her obsession with death and murder and chooses life, love and hope.
As a fan of Farscape - where the series put literally EVERYTHING between the eventual hookup between the leads - I'm glad to see that Marlowe and Co. have the courage and the imagination to see that the hookup is merely a new start for a whole bunch of new situations and complications. It will never be easy for these two, there will always be some friction (ask any married couple) but there's also the great opportunity to watch as they snark at each other or have Castle tell the bad guy that you just pissed off the wrong girl, with the knowledge that it's his girl, and not merely his 'partner.'
Thanks for a good season
These last two episodes have been a good reason to keep watching. I no longer follow the show (Season 2 put me off), but the story lines have been strong (Finn healing his rift with Santana was especially sweet - and Quinn's heart-to-heart with Rachel about going to Columibia(?) to study drama as a girl who can cry was great also.
But we live for the musical numbers, and those Jackson mashups were terriffic!
I'll continue to 'drop in' on Glee from time to time.
@The Watcher: Beckett has a motorcycle, and therefore a helmet, but she bought it just out of high school, and therefore like many of activities Kate's 'fun' side (including, probably, her trip to where she learned Russian), it predates her mother's murder. Beckett back then was a risk-taker and from her asides we know she's known a lot about fun.
But that was then. Like she tells the shrink, after her mom's murder her life changed, making her this strong, principled and yet diminished version of who she is. I see Kate not only opening up to Castle, but coming back to herself.
This episode was so good, too good in a way. It made me sad to think that it wonâ€™t be on the air again until 2012. I think it sets up a number of issues.
For Beckett, the idea that she has, if she hasnâ€™t really said so out loud, started to imagine her life post-wall, and that Castleâ€™s in it. The motorcycle helmet was a subtle hint that sheâ€™s starting to live outside her prescribed zone already.
The setup for Ryanâ€™s wedding to Jenny.
They will continue to explore Castle/Beckett issues by proxy through Lanie/Espo
Whatâ€™s the holdup then? I think the issues raised in the â€˜Riseâ€™ season premiere episode will start to reemerge over the course of the back 12 episodes (just in time for sweeps). This thing with each of them having secrets from the other- Kate: she heard him tell her he loves her, Castle: his knowledge that any further investigation Kateâ€™s motherâ€™s murder/her attempted murder will mean death sentence- this will ultimately mean each of them having to come clean and UPPING the already high level of trust theyâ€™re showing. I see tears, shouting, and also laughing.
Thatâ€™s when youâ€™ll really see the teamwork payoff. For anyone who watched Farscape, when the romantic leads finally get together it can lead to some amazing television.
One person's lazy writing is another's surpise. I did not see this coming, mostly because EJO's wooden acting method gives that much away in every character he plays. (Facebook post-joke: Olmos'acting method summed up in Walking Dead's season finale "Pretty Much Dead Already.") OTOH, I knew that Bruce Willis was (spoiler alert) *dead* in the dreadful "Sixth Sense" before the opening credits had stopped rolling.
I was insufferable then (suffering numerous gouges to the ribs to keep me from spilling THE OBVIOUS). You get to be insufferable now.
Besides, I am far more interested in Deb waking up to who Dexter is than this DDK nonsense. The Nebraska ep was the low point, IMO.
Well from the photo they are out of the cuffs, and are trying to dig their way through the wall of the abandoned building they are presumably trapped in.
And unfortunately for some, it would appear that they are more involved with getting out than in getting it on.
I'm not bored at all with this. Sure its a zombie show, and zombies mean semi-comic headshot killing, but this show has ALWAYS been about the real 'Walking Dead' - those being living survivors of the zombie apocalypse and what it means to live without hope. I thought some of the best TV I've seen this year happened in this episode, Glen showing just how fearsome and quick-thinking he can be, or how Andrea can go on living - or how any of them can go on living with the knowledge that their world is gone. They are food, and they will die either AS food or in a mercy killing. THat's what makes Rick so interesting, and Lori for that matter. He knows the score, but he's not giving up hope. He can't because like it or not, he's the leader. I found his heart-to-heart with Lori incredibly well executed from writing to acting to directing - how the last image of the epsiode are the two of them, stage left, alone against a cruel world.
Man, great episode, great review and so many excellent comments. This is one of those episodes where the character turns a corner â€“ and shows us some real development.
One thing Iâ€™d like to add is how the episode was written using Beckettâ€™s POV for everything. The sounds, the views, how everything in the case collapses in on her own mental state. Kateâ€™s been hiding both her physical and mental wounds. Theyâ€™ve placed subtle clues throughout the previous episodes â€“ a running chase where Ryan overtakes her and she slows down, or getting a twinge of pain walking with Castle to a crime scene. But mostly it looked like Kate had been reset so the funny can still come. THIS was the reset folks â€“ Kateâ€™s damaged, but she hit rock bottom and now sheâ€™s committed to becoming â€˜more.â€™
Stana Katic gave us everything in this performance â€“ and also Jon Huertas. I replayed that scene in the evidence locker 3 times after the show. It was extremely well written and performed, just two generous, extremely talented actors playing off each other. I donâ€™t know why, but it was all in the hands and eyes â€“ Stanaâ€™s tearful â€œWhat the Hell?â€ and later when Esposito hands her the weapon that caused her so much pain â€“ and then later, using that very weapon to break the case wide open. Exactly what Esposito told her: Take your brokenness and use it.
Folks, this is a comedy drama, but episodes like Kill Shot are necessary to keep us caring about the leads, and to look at these characters as real people with real emotions the make the things they go through matter.
I think Fillion was great in the Cops and Robbers episosde, but seriously they need to give Nathan a big emotional episode like this one. Of course, if Joss Whedon were writing this it would be a simple matter of killing one of his women, but for now, maybe it will be the episode where he meets his father (or is that one going to be a Christmas episode?)
Honestly, they should color coordinate the titles, like Fringe does, to denote one universe from the other - with Castle it's "Traditional" vs. "Edgy." As an Edgy show, this was better than 'Rise' - and right there with kick the ballistics for the dark episoides. The best, because of how it used all the leads well. Does anyone know the deal between Alexis and Beckett? She seems unsure, like she's still angry with Kate for bringing her dad into this dangersous world of crime.
Some thoughts. Castle as a natural leader. Something one wouldn't expect from a writer, especially a playful one like Rick Castle - but he's a 'partner' to a cop, and so he did what was needed of him. But this is not something he's just got from working with Kate, this is a deeper part, something he always has been. (Maybe it's one of the things that makes him part of the Beckett, Esposito, Ryan family - he leads when he has to - on a "traditional' Castle, something would happen to make him scream like a little girl). Some great touches between Martha and Rick - her 'indicating' line had me burst out laughing (indicating is a theater term for 'fake acting.')
The SMILE we haven't seen a Happy Beckett is quite some time. Seeing him alive and okay gave her JOY. Thanks for the Stana INCREDIBLE smile).
Kate as family - she sees Castle with his girls, (Martha and Alexis) and realizes that he has this whole other life - and then to be invited in (Okay: I'll admit: I've been watching the entire Season 3 of True Blood along side this, so perhaps "Invited IN" - had more meaning for me than for other people). That ending was pure Beckle/Caskett/whatever shipping. Castle with his three girls.
Loved it overall.
Like others here have said, 'why is it complicated?' I don't really mind it - as this kind of thing happens on every show where there is sexual tension between the leading characters. It it were say, Fringe, they can go the entire distance, then stick the characters in separate universes. In Farscape (by FAR the most romantic show I've ever seen) split him into two identical (Castles)they can go the entire relationship distance with one guy, kill him, and then start all over again with the remaining guy.(which odd as it sounds, when well written and performed, can be enormously satisfying for a viewer).
Here, I like what I see because we get to watch Stana Katic show Kate's conflicted nature. Face it people, Kate Beckett is STUCK. Stuck in therapy, even. She's come to see Castle as a partner in every sense, sees the complete guy, knows he loves her, and still can't commit?
And Castle - who told Kate he loved her, suspects she heard that. When Beckett gives him permission to date, it's so obvious she doesn't mean it, that Castle gives her "Really?" He doesn't buy it, and neither did our insurance investigator.
My thinking is that there is more to Kate's 'complications' than we know and that (cue Michael Dorn) we may find that out. But that's why I still love this show: It's Season 4 and we're still learning something about these two.
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