While we are still not over the exhilarating events of this year’s season finale, we think it’s about time to take a step back and assess the season as a whole. There were a lot of ups and downs, no doubt about that, but this post will focus on the ups. Here are our five favourite episodes from season 4 of Castle, in order of appearance. Enjoy!
Things happened. Big things. Things that are meaningful and irrevocable and wonderful. So let’s jump right in as I try, like so many fans out there, to make sense of my Castle/Beckett feelings.
We begin with Beckett clinging to the edge of a building, calling out for Castle as she loses her grip. Just as all hope seems lost, we cut to three days earlier. Oh, season finales. After discovering what appears to be a gang-related murder in an alley, Beckett, Castle, and the boys soon discover a link to Montgomery’s home and the files he was trying to keep hidden. Drama, stolen glances, and intensity ensue, highlighting how much Castle, Ryan, and Esposito love Beckett in their own ways. Each of them will do pretty much anything to support Beckett and keep her safe, and we see this play out throughout the episode. Of course, Castle is keeping a secret about the files and the case, and we all know that it’s only a matter of time until it comes out.
We’re heading in the right direction, people. I mean, sure, we’re celebrating the fact that Castle and Beckett are even talking to each other at all, let alone talking about their feelings, but after the last few episodes we’ll take what we can get. It’s no secret that I was getting a little sick of the constant evading, concealing, and inability to communicate, and I was thoroughly fed up with Castle when he said this would be his last case working with Detective Beckett. I knew it wasn’t going to prove true, but somehow that made it even more annoying. Enough already!
Now that I’ve gotten that off my chest, I can comment on the actual episode. I felt that “Undead Again” was all about one person knowing better than another and pulling the wool over their eyes. This plays out in the zombie storyline, but also more significantly in Castle and Beckett’s relationship. In terms of the zombies, we (or the characters) are fooled into believing that they might actually be the walking undead. When that theory is debunked, we see the case of one “zombie” being manipulated into committing a crime against his will and without his knowledge. See: pulling the wool over his eyes. As for Castle and Beckett, they simply can’t keep up their charade any longer, and there are many layers of the charade: first and foremost is the fact that they’re in love with each other and not acting on it, second is Beckett hiding from Castle that she heard him say he loved her last year, third is Castle hiding his knowledge that she heard him, and fourth is Castle hiding info about Johanna Beckett’s murder and Kate’s shooting (which will most certainly come up in the finale next week).
We were all looking forward to “47 Seconds”. It was to be the episode in which something finally happens between Castle and Beckett. And while I suppose something did happen, it’s certainly not anything I am pleased or impressed with. I’m waiting until the end of the season for the writers of Castle to convince me that the events of this episode were justified, because right now they seem like yet another contrived device to keep the two main characters apart.
Allow me to clarify. I’m not talking about Beckett’s secret coming out, because (a) that was bound to happen and (b) it is kind of a big deal. Beckett heard Castle say “I love you” after she was shot in last season’s finale, and neglecting to mention it to him for almost a year is on the list of things you probably shouldn’t do to the man you’re clearly in love with. Thus the main drama of the episode is established, with a bombing setting the stage for Castle and Beckett to ponder how precious and uncertain their time is. It seems like the perfect opportunity for the couple to finally act on their feelings, make out, make babies, do all those things Stana Katic keeps advising for the characters.
It was nice to have Castle back after a three-week hiatus, especially because this season seems to be flying by. While I could have done with a slightly more engaging plot, I will let that slide given the big things that seem to be in store for our favourite crime-fighting pair in the episodes to come this season. “A Dance with Death” was light and not particularly memorable, but had some small moments and side storylines that definitely deserve a mention. And so. To begin.
For the most part, I was digging Beckett’s brightly-coloured wardrobe this episode. She’s definitely much more casual this season (and has been following an ever-increasing casual trajectory throughout the show) but we don’t often see her in those popping colours. From bright orange to electric blue to berry pink, this says a lot about what she as a character is comfortable with. Often when Beckett feels unsafe, threatened, or vulnerable, the dark colours and turtlenecks come out in great abundance. Here her wardrobe tells us that she is totally comfortable with herself, her job, her relationship with her co-workers, and her relationship with Castle. This might be lulling both Kate and the viewer into a false sense of security since I have a feeling one or both of the big secrets being kept by Castle and Beckett are going to come out before the end of season 4. But for now, hooray for colour!
I am going to start off this review by saying that Martha as King Lear is the greatest thing ever! I would definitely pay to see a production that starred her as the mad king raging against the storm. Martha’s character is one of the few on Castle that I have found consistently amusing, honest, and generally likeable. Susan Sullivan does a great job bringing Martha’s over-the-top antics to life without making them so ridiculous that the audience loses their interest. Somehow the craziness makes sense and feels believable coming from her. And beneath all that frivolity, we can see Martha’s integrity and heart during serious talks with her son; there is a sense of mutual respect whenever Castle seeks her counsel.
And speaking of mutual respect, this case raised some interesting questions for Castle and Beckett’s relationship as well. I suspected that “Dial M for Mayor” was going to be a rehashing of last year’s “The Final Nail”, but the political intrigue and conspiracy theories expanded into a much larger mystery. I also think that Castle and Beckett have changed a lot since 3×15, and they’re much closer as partners and friends. After all, they’ve been through Montgomery’s death, Beckett’s shooting, and Rick’s admission of love. Though they’re not directly responding to any of this (at least at first), it definitely informs the way they proceed throughout the episode. Just take a look at the scene when Castle brings her coffee but doesn’t say anything; Beckett knows something is wrong just by looking at him.
This may be my favourite episode of season 4 so far. We all knew “Cops and Robbers” was going to be a high-stakes episode, but it exceeded my expectations – not really in terms of intensity (although it certainly was intense) but in terms of the way the story was told, the way the characters behaved, and the way the actors brought so much life to it even with the subtlest gestures.
I suppose one way of putting it is that the central characters, especially Castle, Martha, and Beckett, are forced to act according to the very core of their being – the situation strips away their outward displays, quibbles, and assumed personas, and we really see the fundamental essence of their characters come out. This essence might be one that the characters themselves are surprised by, or one that they knew of all along, but the danger and emotion involved in the hostage situation reveals who they truly are.
There was a lot at stake for Castle’s season 4 premiere. The show has always had a pretty healthy mix of light and dark, and usually the dark episodes offer enough comedic relief so that the overall tone of the show is on track. Last season raised the stakes for Castle’s dark side. Kate Beckett has always carried the demons of her mother’s unsolved murder with her, but last season the investigation turned alarmingly real, dangerous and heartbreaking. This sets different expectations for this season: to handle this darkness and incorporate it into the ongoing story–because how can you not–but also to remain a comedy at heart.
I love the dark Castle as much as the comedy and I’m thrilled to see how this season will incorporate these new challenges. If “Rise” was any indicator of where the season is headed I can’t wait for next week, and the next week (and so on). In a recent interview with Daniel Fienberg on Hitfix, Nathan Fillion talks about the balance between lighthearted comedy and the darker stuff. He spent time with real NYC Homicide cops and says “They’re not brooding, haunted people, tortured by their job and murder. They are very funny. They’re very funny, very relaxed, very light-hearted. It’s just that all of their stories start with, ‘So this guy gets killed…’”. Castle seems to take this truth to heart in their depiction of the fictional precinct and it works beautifully. Continue reading
Epic. Intense. Heartbreaking. Completely and irrevocably game-changing. I don’t even know where to begin. It’s hard to analyze an episode that is so emotionally hard-hitting, but at the same time there are a lot of amazing elements in “Knockout” that I want to address.
For one thing, we see a whole new side of Kate Beckett. As events unfold, we see her slowly unravelling from the confident and slightly cocky cop at the beginning to the ragged, vulnerable Kate at the end. I knew we were in for quite a ride when her reaction to McAllister’s prison murder was not despair, but steely, hardened determination. It was actually kind of creepy to see that she seemed glad when McAllister was killed because it gave her new leads to follow – as she says, “I’ve been going to that prison every week for the last four months to have a staring contest with the devil, and the devil just blinked” (Great writing, Will Beall!).