Streaming Options
Here are 2 official promos for Season 5 of The Game which is due to premiere on Tuesday 10th January 2012 at 10/9c on BET.
Streaming Options
x
EP. 4.09: "KILL SHOT" / BEST OF
"CASTLE & BECKETT NEED TO FIND A SNIPER WHO IS TERRORIZING NEW YORK CITY, AS BECKETT BEGINS TO EXPERIENCE INCREASINGLY STRONG MOMENTS OF PTSD."EP. 4.09: "KILL SHOT" / BEST OF
x
[Please note: the main theme of this episode - PTSD - is very personal to me. As a result, this review will contain some comments based on my own experience]
..IN A NUTSHELL..
Gripping, heart-wrenching, pivotal... What a performance from Stana Katic - and what a scene between her and Jon Huertas. [Please note: the main theme of this episode - PTSD - is very personal to me. As a result, this review will contain some comments based on my own experience]
x
Despite the overwhelmingly dramatic tone, there were still some light-hearted moments:
• "Roger" -- Castle teasing Beckett about her "mystery man". Nice banter between the two, but also great way to (re)introduce Beckett's injuries. "Sometimes, the scar pulls a bit" was the last time it was mentioned (in "Kick the Ballistics") and that small scene gives out two key pieces of information: 1) Beckett is still seeing a physical therapist, and by her own admission, is still not physically 100% - something that will pay off in the "ladder scene"; 2) the actual theme of the episode is revealed: "strength/weakness". -- Writing exposition scenes is often one of the hardest parts of a writer's job. Here, it's done elegantly.
• The word "sniper" (in the morgue) -- Great ensemble scene. Really liked Esposito and Lanie bickering and blaming each other, and the way Nathan Fillion's delivered: "Even I noticed". The tone was also spot-on. You could feel how much these characters care about each other. Beckett: "You guys, you don't have to avoid the word on my account." was kind of playful (Beckett is more touched than mad). The other three trying to protect her was sweet. Lovely interactions all around.
• "She's never snapped at me before." -- Castle talking about Beckett and Esposito giving him one of his "looks" (Jon Huertas should trademark them!)
• "I think I know how to check an alibi, detective." -- Gates to Beckett.
• "Can I just say, this school of yours is worth every penny I paid?" -- Nathan Fillion's delivery was great.
• The sniper, right before the credits. -- Absolutely loved the editing here, cutting right as we hear the shot. Almost feels like we didn't fully hear it. Very artistic and efficient.
• Beckett's first PTSD episode (at the second crime scene). -- The combination of camera movements (Beckett's POV as she walks towards Lanie, looks up at the surrounding windows, turns around) + the sounds (car door, siren) really create a sense of disorientation and an unsettling/threatening atmosphere. You feel surrounded - inside Beckett's head and watching her at the same time. Again: very efficient. The sound effects also make the next scene at the precinct more powerful: all about silence and "white noise", as Beckett feels cut off from her immediate surroundings, in her own world.
• The therapist's office -- As I've mentioned in previous reviews: *great* set - and very well exploited. These type of scenes (same applies to the interrogation room) are very static by nature, but the production team often finds ways to shoot them in a creative way. Here, really liked Beckett's hand with the therapist in the background. Original way to tie the two in the same shot.
• Beckett breaking down in the corridor. -- This was *so* well shot. The angles, the colours, the out-of-focus ending. Especially liked the shots (fixed) of her jacket and gun landing on the carpet. - And *loved* the music
• Searching the building. -- Beckett running into the building, moving from room to room, looking for signs of the sniper... Quite reminiscent of the scene in "Cops & Robbers" when she scans the blast scene: "X-Files blue light" + kinetic camera movements. Nice touch to opt for a thigh holster and earpiece (very visual).
• Confronting the sniper. -- Beckett's POV as she spots the door ajar, sees the school bus photo on the window... Perfect build-up before the sniper suddenly overpowers her. That sequence was extremely well shot and edited (especially the hand-to-hand combat and the stunt part).
..FAVOURITE QUOTES..
• "It could happen to anyone." / "Yeah, well, I'm not anyone." (Castle & Beckett about her 'startle response'). -- Liked how much is implied in Beckett's answer.
• "I don't have time to get all weepy over a couple of scars." -- There was something about the word "weepy" that made that line work especially well.
• "I'm fine. Thank you." (Beckett at the end of the first therapy session" / Followed by "How worried should I be about Beckett?" (Castle at the start of the next scene) -- Nice Q&A the other way around. We usually have a question... answered in the next scene. Here, we have the answer... then the question. Nice writing.
• "You know what I think? I think that you should be on the other side of that barrel." (Beckett interrogating the suspect) -- Really brings home how far out of line Beckett is.
• "Yeah. Like we caught the guy that shot me." -- Quite banal on paper, but the intensity Stana Katic puts in it, and its place in the storyline, made it quite pivotal.
• "You think it's a weakness? Make it a strength." (Esposito during the rifle scene) -- Powerful. Beautifully written and delivered.
• "I want to be more than who I am." (Beckett to her therapist) -- Again... Powerful. Beautifully written and delivered.
• "She's dead, Kate. You can't let her down." (Therapist to Kate, about her mom) -- Anyone who has lost a loved one will know how powerful - and cathartic - this line is.
• Stana Katic. -- This was one hell of a performance. Emotional, physical, outstanding throughout the entire episode. There was something really special about the way Beckett was explored and portrayed over the course of this episode. The writing was excellent to start with (how often do you get 90% of an episode devoted to a character study?), but Stana Katic added so much to it. She goes through such a wide range of emotions... - letting us in at all stages. In a way, it was a very generous and courageous performance: raw, heartbreaking. To show that level of authenticity, you do have to be 100% in the moment. Very few actors/writers can do that.
• Production team. -- Another beautifully shot and produced episode.
• The score. -- Thought the music was especially great in this episode. Emotional scenes often get the "soapy" treatment. Here, the score added a special layer to several emotional moments, especially the one when Beckett breaks down in the corridor and the rifle scene.
• Costume design. -- Haven't mentioned it in previous reviews (very sorry about that!!), but Beckett's look this season fits particularly well with the current storyline. It's darker, edgier, more retrained. In this episode it's also used to create some very visual moments -- Beckett's silhouette as she searches the building / Black jacket, hands in pocket, during the rifle scene; black again in the corridor scene / Beckett drunk, terrified. -- Hair, outfits, silhouette... Feels like *everything* is used to enhance what we see on the screen.
• Full cast. -- Even though this is very much a Beckett episode, all the other actors and characters had a great role to play, including the two main guest stars: suspect and sniper.
Other posts:
• Episode 4.09: "Kill Shot" / BEST OF
• Episode 4.07: "Cops & Robbers" / BEST OF
• Episode 4.01: "Rise" / BEST OF
..DRAMATIC HIGHLIGHTS..
So many in this episode...
• The opening scene. -- The blood from the sniper's victim splattered all over her friend's face. Gory, disturbing. Sets the tone right away.
• The first hints. -- All the small details paving the way for Beckett's full-blown PTSD:
1) The way she touches her chest when looking at the first victim - "Bullet wound straight to the heart..." -, followed by the way she looks at the blood trail, her eyes lingering on it.
2) In the morgue: "Did she feel it?"
3) Looking at her scars in the mirror, touching them.
• Beckett's first PTSD episode. -- The cinematography was great (see below), combining sounds and camera movements to create a disturbing/disorienting atmosphere. The sound of the car door being slammed feels like an opening salvo, and things escalate from then on. Beckett is no longer the "detective leading the charge". She's out of breath, struggling to find her words... rattled, jumpy, confused... And talking from personal experience [see author's notes] this is the first of many scenes that portray extremely well what PTSD feels like. -- Beckett diving for cover when she hears the siren almost comes across as over-the-top on the screen, but this is one of the classic reactions in real life. Just as people looking at you, baffled, not getting what's going on.
• Beckett, in her own world, at the precinct -- Another very authentic scene. Feeling cut off, scared, confused. Almost like being stuck in a parallel universe, unable to connect with others or even hear them properly... -- Beckett snapping at Castle as he tries to comfort her was a first key moment: very unlike Beckett, highlighting how affected she is. And the line "Well, I'm not anyone" was brilliant, leading us right into the next scene: Beckett's not only confused and scared, but also mad at herself for not being able to control what's happening to her.
• The first therapy session. -- Brilliant. Stana Katic nails every single beat in that scene, both in terms of physicality and emotions.
1) "I don't have PTSD." - The way she delivers that line, angry and dismissive at the same time: great choice.
2) Her hand movements as she says: "I need to figure out how to make this stop."
3) Her body language as she paces the room, turns around, and sits down - elbows on her knees.
4) "I don't have time to get all weepy over a couple of scars." - Again great choice in terms of line delivery: matter-of-factly, almost flippant.
5) "You don't think I can handle this?" - Absolutely love the tone here. The half smile to start with, the taunting attitude. This is the Beckett we know, but Stana Katic manages to add another layer to her: subtle, edgy, slightly disturbing. Fascinating to watch.
6) Holding her head in her hands. - Not like you've seen it a thousand times before on a screen. More intense, heartfelt, visual. Even before the great line that follows, you know it’s a pivotal moment. You know Beckett is about to make a dreadful decision. -- One of the things that always impress me on Castle, is the cast's ability to convey a lot with very little, and often without words - and this moment is a classic example.
7) "You know what? I'm fine." -- *Perfect*. -> The line. The delivery. The shock effect.
• The elevator scene. -- Beckett scared, hyperventilating, her hand shaking... You can see the physical effects of what she's experiencing, but also sense her frustration as she tries (and fails) to keep things under control. - Especially liked Stana Katic's facial expression as she steps out of the elevator. Like Beckett's going into battle.
• Apprehending the suspect. -- Beckett freezing, as she's supposed to follow Esposito inside the elevator. Just like at the second crime scene, 'zoning out', short of breath. Very strange and powerful to see her so still and silent.
• Interrogating the suspect. -- So much intensity in that scene, and just like the first therapy session, Stana Katic delivers both in terms of physicality and emotions. The finger pointing, the threatening voice, her body language... Again, this is the Beckett we know, owning the space (physically and mentally), but she's way more aggressive and predatory than usual. Nathan Fillion and the guest star are also great - one concerned, the other one standing up to Beckett - both contributing greatly in terms of overall effect.
• Night / PTSD. -- Beckett is barely recognisable when you get that first glimpse of her in her apartment: drunk and terrified. First of several "short and powerful" scenes build around a strong performance from Stana Katic and great cinematography.
• Beckett's bandaged arm. -- Very visual. Liked the shot when she pulls her sleeve down to cover it, hide the blood stain on it. In a way, it reminds us that Beckett is physically hurt (i.e. the scars we can’t see) and makes her look physically more vulnerable.
• Beckett running towards the new crime scene (right after all the phones start ringing at the same time). -- Blue light and silence ('white noise' effect). Her silhouette, still, surrounded by blurred movements. Very artistic and gripping sequence.
• Beckett breaking down in the corridor. -- Heartbreaking, beautifully shot and scored. One of these perfect scenes you will remember for a long time. The way she strips away her jacket, her gun, her badge... Leaning against the wall... Brilliant performance from Stana Katic (yet again: physicality + emotions). Another "short and powerful" scene.
• THE RIFLE SCENE. -- Honestly, one of the best scenes I have ever seen on screen: absolutely heart-wrenching. - Stana Katic and Jon Huertas deliver such an outstanding performance... This is way more than just a scene, more like one of these 'magic moments' only a few actors (and production team) can create.
1) "It's the rifle... that shot you" -- The beat made that line so much more powerful.
2) "You are way out of line." -- Beckett starting to break. Hard to watch.
3) "What the hell are you doing?" - Incredible performance from Stana Katic at that very moment. Her voice: broken; heartbreaking. The way she steps back. That 100% in the moment authenticity that makes you feel so much. You can sense Beckett's fear, her despair, all the pain she's been bottling up for so long. And when the dam breaks, it's such a unique moment...
4) "Javi, I'm fine." - Heartbreaking. The way that single sentence was delivered: absolutely gut-wrenching.
5) Esposito's speech about the rifle: extremely well written and delivered by Jon Huertas. Especially liked the way he says: "It's a hunk of steel." and "It's just a guy. With a gun.".
6) "He's damaged goods." / "So am I." -- Stana Katic's performance is so raw. The way she barely articulates the words, the long beat before she does. Everything is brilliant: the emotions on her face, her body language (hands in pockets), the moment she starts crying. -- No way you cannot cry, and/or *really* feel something during that scene!
7) "You think it's a weakness, make it strength." - Not only a beautifully written and delivered line, but also so very true.
8) Beckett finally grabbing the rifle. -- The music (*excellent*). The close-up of Stana Katic's face, looking away, crying... Her fingers tentatively touching the weapon, holding it... -- Such a powerful scene.
• The ladder. -- Yet another "short and powerful" scene. Love all the different layers, combined in 30 *seconds* or so! 1) It's a key moment plot-wise: Beckett realizing the suspect must have a physical disability. 2) Very visual: the rooftop, the camera angles, the rifle. 3) Believable: climbing a ladder is not something we've seen Beckett do since the shooting; uses very specific muscles/movements. 4) Another gripping performance from Stana Katic: Beckett's pain, anger and frustration are perfectly conveyed.
• Confronting the sniper. -- Great action sequence (searching the building), followed by a very moving one (Beckett pleading with the sniper). - And the two combined create a highly satisfying conclusion to the "case-of-the-week". Such endings are often a big let-down (rushed and/or cliché). Here, we have another very emotional moment with Beckett opening-up, vulnerable and scared. -- "You think my life is a picnic?"... Showing the sniper her scar, pleading for her life... Stana Katic was brilliant (once more) at creating a heartbreaking Beckett: exhausted, overpowered, letting it all out... - The ending of the scene also offered a nice parallel: Beckett hurt, and saved, by a sniper. So glad the creative team didn't opt for a "happy" ending here. Much more powerful that way.
• The last therapy session: outstanding and pivotal scene. Last few minutes of Stana Katic's amazing work on that episode. -- The way she delivers: "I want to be more than who I am." was so heartbreaking... The therapist talking about her mom: "She's dead, Kate. You can't let her down."... Beckett crying... And the final exchange: "Are you ready?" / "Yeah, I think I am". -- Perfect ending to a perfect episode.
• The opening scene. -- The blood from the sniper's victim splattered all over her friend's face. Gory, disturbing. Sets the tone right away.
• The first hints. -- All the small details paving the way for Beckett's full-blown PTSD:
1) The way she touches her chest when looking at the first victim - "Bullet wound straight to the heart..." -, followed by the way she looks at the blood trail, her eyes lingering on it.
2) In the morgue: "Did she feel it?"
3) Looking at her scars in the mirror, touching them.
• Beckett's first PTSD episode. -- The cinematography was great (see below), combining sounds and camera movements to create a disturbing/disorienting atmosphere. The sound of the car door being slammed feels like an opening salvo, and things escalate from then on. Beckett is no longer the "detective leading the charge". She's out of breath, struggling to find her words... rattled, jumpy, confused... And talking from personal experience [see author's notes] this is the first of many scenes that portray extremely well what PTSD feels like. -- Beckett diving for cover when she hears the siren almost comes across as over-the-top on the screen, but this is one of the classic reactions in real life. Just as people looking at you, baffled, not getting what's going on.
• Beckett, in her own world, at the precinct -- Another very authentic scene. Feeling cut off, scared, confused. Almost like being stuck in a parallel universe, unable to connect with others or even hear them properly... -- Beckett snapping at Castle as he tries to comfort her was a first key moment: very unlike Beckett, highlighting how affected she is. And the line "Well, I'm not anyone" was brilliant, leading us right into the next scene: Beckett's not only confused and scared, but also mad at herself for not being able to control what's happening to her.
• The first therapy session. -- Brilliant. Stana Katic nails every single beat in that scene, both in terms of physicality and emotions.
1) "I don't have PTSD." - The way she delivers that line, angry and dismissive at the same time: great choice.
2) Her hand movements as she says: "I need to figure out how to make this stop."
3) Her body language as she paces the room, turns around, and sits down - elbows on her knees.
4) "I don't have time to get all weepy over a couple of scars." - Again great choice in terms of line delivery: matter-of-factly, almost flippant.
5) "You don't think I can handle this?" - Absolutely love the tone here. The half smile to start with, the taunting attitude. This is the Beckett we know, but Stana Katic manages to add another layer to her: subtle, edgy, slightly disturbing. Fascinating to watch.
6) Holding her head in her hands. - Not like you've seen it a thousand times before on a screen. More intense, heartfelt, visual. Even before the great line that follows, you know it’s a pivotal moment. You know Beckett is about to make a dreadful decision. -- One of the things that always impress me on Castle, is the cast's ability to convey a lot with very little, and often without words - and this moment is a classic example.
7) "You know what? I'm fine." -- *Perfect*. -> The line. The delivery. The shock effect.
• The elevator scene. -- Beckett scared, hyperventilating, her hand shaking... You can see the physical effects of what she's experiencing, but also sense her frustration as she tries (and fails) to keep things under control. - Especially liked Stana Katic's facial expression as she steps out of the elevator. Like Beckett's going into battle.
• Apprehending the suspect. -- Beckett freezing, as she's supposed to follow Esposito inside the elevator. Just like at the second crime scene, 'zoning out', short of breath. Very strange and powerful to see her so still and silent.
• Interrogating the suspect. -- So much intensity in that scene, and just like the first therapy session, Stana Katic delivers both in terms of physicality and emotions. The finger pointing, the threatening voice, her body language... Again, this is the Beckett we know, owning the space (physically and mentally), but she's way more aggressive and predatory than usual. Nathan Fillion and the guest star are also great - one concerned, the other one standing up to Beckett - both contributing greatly in terms of overall effect.
• Night / PTSD. -- Beckett is barely recognisable when you get that first glimpse of her in her apartment: drunk and terrified. First of several "short and powerful" scenes build around a strong performance from Stana Katic and great cinematography.
• Beckett's bandaged arm. -- Very visual. Liked the shot when she pulls her sleeve down to cover it, hide the blood stain on it. In a way, it reminds us that Beckett is physically hurt (i.e. the scars we can’t see) and makes her look physically more vulnerable.
• Beckett running towards the new crime scene (right after all the phones start ringing at the same time). -- Blue light and silence ('white noise' effect). Her silhouette, still, surrounded by blurred movements. Very artistic and gripping sequence.
• Beckett breaking down in the corridor. -- Heartbreaking, beautifully shot and scored. One of these perfect scenes you will remember for a long time. The way she strips away her jacket, her gun, her badge... Leaning against the wall... Brilliant performance from Stana Katic (yet again: physicality + emotions). Another "short and powerful" scene.
• THE RIFLE SCENE. -- Honestly, one of the best scenes I have ever seen on screen: absolutely heart-wrenching. - Stana Katic and Jon Huertas deliver such an outstanding performance... This is way more than just a scene, more like one of these 'magic moments' only a few actors (and production team) can create.
1) "It's the rifle... that shot you" -- The beat made that line so much more powerful.
2) "You are way out of line." -- Beckett starting to break. Hard to watch.
3) "What the hell are you doing?" - Incredible performance from Stana Katic at that very moment. Her voice: broken; heartbreaking. The way she steps back. That 100% in the moment authenticity that makes you feel so much. You can sense Beckett's fear, her despair, all the pain she's been bottling up for so long. And when the dam breaks, it's such a unique moment...
4) "Javi, I'm fine." - Heartbreaking. The way that single sentence was delivered: absolutely gut-wrenching.
5) Esposito's speech about the rifle: extremely well written and delivered by Jon Huertas. Especially liked the way he says: "It's a hunk of steel." and "It's just a guy. With a gun.".
6) "He's damaged goods." / "So am I." -- Stana Katic's performance is so raw. The way she barely articulates the words, the long beat before she does. Everything is brilliant: the emotions on her face, her body language (hands in pockets), the moment she starts crying. -- No way you cannot cry, and/or *really* feel something during that scene!
7) "You think it's a weakness, make it strength." - Not only a beautifully written and delivered line, but also so very true.
8) Beckett finally grabbing the rifle. -- The music (*excellent*). The close-up of Stana Katic's face, looking away, crying... Her fingers tentatively touching the weapon, holding it... -- Such a powerful scene.
• The ladder. -- Yet another "short and powerful" scene. Love all the different layers, combined in 30 *seconds* or so! 1) It's a key moment plot-wise: Beckett realizing the suspect must have a physical disability. 2) Very visual: the rooftop, the camera angles, the rifle. 3) Believable: climbing a ladder is not something we've seen Beckett do since the shooting; uses very specific muscles/movements. 4) Another gripping performance from Stana Katic: Beckett's pain, anger and frustration are perfectly conveyed.
• Confronting the sniper. -- Great action sequence (searching the building), followed by a very moving one (Beckett pleading with the sniper). - And the two combined create a highly satisfying conclusion to the "case-of-the-week". Such endings are often a big let-down (rushed and/or cliché). Here, we have another very emotional moment with Beckett opening-up, vulnerable and scared. -- "You think my life is a picnic?"... Showing the sniper her scar, pleading for her life... Stana Katic was brilliant (once more) at creating a heartbreaking Beckett: exhausted, overpowered, letting it all out... - The ending of the scene also offered a nice parallel: Beckett hurt, and saved, by a sniper. So glad the creative team didn't opt for a "happy" ending here. Much more powerful that way.
• The last therapy session: outstanding and pivotal scene. Last few minutes of Stana Katic's amazing work on that episode. -- The way she delivers: "I want to be more than who I am." was so heartbreaking... The therapist talking about her mom: "She's dead, Kate. You can't let her down."... Beckett crying... And the final exchange: "Are you ready?" / "Yeah, I think I am". -- Perfect ending to a perfect episode.
..FUNNIEST MOMENTS..
Despite the overwhelmingly dramatic tone, there were still some light-hearted moments:
• "Roger" -- Castle teasing Beckett about her "mystery man". Nice banter between the two, but also great way to (re)introduce Beckett's injuries. "Sometimes, the scar pulls a bit" was the last time it was mentioned (in "Kick the Ballistics") and that small scene gives out two key pieces of information: 1) Beckett is still seeing a physical therapist, and by her own admission, is still not physically 100% - something that will pay off in the "ladder scene"; 2) the actual theme of the episode is revealed: "strength/weakness". -- Writing exposition scenes is often one of the hardest parts of a writer's job. Here, it's done elegantly.
• The word "sniper" (in the morgue) -- Great ensemble scene. Really liked Esposito and Lanie bickering and blaming each other, and the way Nathan Fillion's delivered: "Even I noticed". The tone was also spot-on. You could feel how much these characters care about each other. Beckett: "You guys, you don't have to avoid the word on my account." was kind of playful (Beckett is more touched than mad). The other three trying to protect her was sweet. Lovely interactions all around.
• "She's never snapped at me before." -- Castle talking about Beckett and Esposito giving him one of his "looks" (Jon Huertas should trademark them!)
• "I think I know how to check an alibi, detective." -- Gates to Beckett.
• "Can I just say, this school of yours is worth every penny I paid?" -- Nathan Fillion's delivery was great.
..GREAT CINEMATOGRAPHY..
• The sniper, right before the credits. -- Absolutely loved the editing here, cutting right as we hear the shot. Almost feels like we didn't fully hear it. Very artistic and efficient.
• Beckett's first PTSD episode (at the second crime scene). -- The combination of camera movements (Beckett's POV as she walks towards Lanie, looks up at the surrounding windows, turns around) + the sounds (car door, siren) really create a sense of disorientation and an unsettling/threatening atmosphere. You feel surrounded - inside Beckett's head and watching her at the same time. Again: very efficient. The sound effects also make the next scene at the precinct more powerful: all about silence and "white noise", as Beckett feels cut off from her immediate surroundings, in her own world.
• The therapist's office -- As I've mentioned in previous reviews: *great* set - and very well exploited. These type of scenes (same applies to the interrogation room) are very static by nature, but the production team often finds ways to shoot them in a creative way. Here, really liked Beckett's hand with the therapist in the background. Original way to tie the two in the same shot.
• Beckett breaking down in the corridor. -- This was *so* well shot. The angles, the colours, the out-of-focus ending. Especially liked the shots (fixed) of her jacket and gun landing on the carpet. - And *loved* the music
• Searching the building. -- Beckett running into the building, moving from room to room, looking for signs of the sniper... Quite reminiscent of the scene in "Cops & Robbers" when she scans the blast scene: "X-Files blue light" + kinetic camera movements. Nice touch to opt for a thigh holster and earpiece (very visual).
• Confronting the sniper. -- Beckett's POV as she spots the door ajar, sees the school bus photo on the window... Perfect build-up before the sniper suddenly overpowers her. That sequence was extremely well shot and edited (especially the hand-to-hand combat and the stunt part).
• "It could happen to anyone." / "Yeah, well, I'm not anyone." (Castle & Beckett about her 'startle response'). -- Liked how much is implied in Beckett's answer.
• "I don't have time to get all weepy over a couple of scars." -- There was something about the word "weepy" that made that line work especially well.
• "I'm fine. Thank you." (Beckett at the end of the first therapy session" / Followed by "How worried should I be about Beckett?" (Castle at the start of the next scene) -- Nice Q&A the other way around. We usually have a question... answered in the next scene. Here, we have the answer... then the question. Nice writing.
• "You know what I think? I think that you should be on the other side of that barrel." (Beckett interrogating the suspect) -- Really brings home how far out of line Beckett is.
• "Yeah. Like we caught the guy that shot me." -- Quite banal on paper, but the intensity Stana Katic puts in it, and its place in the storyline, made it quite pivotal.
• "You think it's a weakness? Make it a strength." (Esposito during the rifle scene) -- Powerful. Beautifully written and delivered.
• "I want to be more than who I am." (Beckett to her therapist) -- Again... Powerful. Beautifully written and delivered.
• "She's dead, Kate. You can't let her down." (Therapist to Kate, about her mom) -- Anyone who has lost a loved one will know how powerful - and cathartic - this line is.
..SPECIAL KUDOS..
• Stana Katic. -- This was one hell of a performance. Emotional, physical, outstanding throughout the entire episode. There was something really special about the way Beckett was explored and portrayed over the course of this episode. The writing was excellent to start with (how often do you get 90% of an episode devoted to a character study?), but Stana Katic added so much to it. She goes through such a wide range of emotions... - letting us in at all stages. In a way, it was a very generous and courageous performance: raw, heartbreaking. To show that level of authenticity, you do have to be 100% in the moment. Very few actors/writers can do that.
• Production team. -- Another beautifully shot and produced episode.
• The score. -- Thought the music was especially great in this episode. Emotional scenes often get the "soapy" treatment. Here, the score added a special layer to several emotional moments, especially the one when Beckett breaks down in the corridor and the rifle scene.
• Costume design. -- Haven't mentioned it in previous reviews (very sorry about that!!), but Beckett's look this season fits particularly well with the current storyline. It's darker, edgier, more retrained. In this episode it's also used to create some very visual moments -- Beckett's silhouette as she searches the building / Black jacket, hands in pocket, during the rifle scene; black again in the corridor scene / Beckett drunk, terrified. -- Hair, outfits, silhouette... Feels like *everything* is used to enhance what we see on the screen.
• Full cast. -- Even though this is very much a Beckett episode, all the other actors and characters had a great role to play, including the two main guest stars: suspect and sniper.
..CASTLE & BECKETT..
Very much a "Castle & Beckett" episode, even though there aren't that many scenes between the two.
• Castle watching over Beckett, trying to give her some space while protecting her at the same time was very well done.
- The elevators scene, when he finds a good excuse for her to stay at the precinct.
- Asking Esposito what should be done to help her.
- Bringing her a *decaf* coffee (funny and sweet).
- Realising, before anyone else, how much the case is affecting her.
• The last scene between them, right after the sniper's death. - Castle: "Just waiting for my partner. Maybe you've seen her. Pretty girl, thinks she can leap tall buildings in a single bound, carries the weight of the world on her shoulders, yet... still manages to laugh at some of my jokes." / Beckett: "She sounds like a handful." -- So well written and acted.
• And of course, Beckett: "I think I am (ready)", at the end.
Very much a "Castle & Beckett" episode, even though there aren't that many scenes between the two. • Castle watching over Beckett, trying to give her some space while protecting her at the same time was very well done.
- The elevators scene, when he finds a good excuse for her to stay at the precinct.
- Asking Esposito what should be done to help her.
- Bringing her a *decaf* coffee (funny and sweet).
- Realising, before anyone else, how much the case is affecting her.
• The last scene between them, right after the sniper's death. - Castle: "Just waiting for my partner. Maybe you've seen her. Pretty girl, thinks she can leap tall buildings in a single bound, carries the weight of the world on her shoulders, yet... still manages to laugh at some of my jokes." / Beckett: "She sounds like a handful." -- So well written and acted.
• And of course, Beckett: "I think I am (ready)", at the end.
..NOT SO SURE.....
Considering the quality of this episode, mentioning anything here would feel like nitpicking...
So, will leave it blank! :)
So, will leave it blank! :)
..TOP 3..
If I had to choose...
#01: The rifle scene.
#02: The therapy sessions.
#03: Beckett breaking down in the corridor
(And if I had more than 3... -- The PTSD, the ladder, the elevator scenes... Interrogating the suspect, searching the building, confronting the sniper... - Such an outstanding episode!)
#01: The rifle scene.
#02: The therapy sessions.
#03: Beckett breaking down in the corridor
(And if I had more than 3... -- The PTSD, the ladder, the elevator scenes... Interrogating the suspect, searching the building, confronting the sniper... - Such an outstanding episode!)
Agree? Disagree? Leave your comments below!
..AUTHOR..
CAROLINE is the author of a series of thrillers set in Vancouver [ www.seriecsu.com ]. She also writes for a TV magazine: articles, interviews and BTS reports. She currently enjoys CASTLE, FRINGE & THE KILLING.
Author's notes - I started watching Castle for two main reasons: Beckett was in many ways like the main character I had created for my series (a strong, guarded and caring female cop, dealing with a traumatic past... who also happened to be called Kate); Castle was a writer with an overactive imagination (something I could personally relate to!). Over the course of the seasons, I have liked some episodes way more than others, but the show has never failed to deliver some special moments for me - touching, moving, funny... -- The aim of this blog is to share some of my thoughts on the show, via a series of reviews and features. On a more personal note: I live in Belfast (Northern Ireland) where I have witnessed acts of violence such as shootings and explosions - something that has shaped me as a person and as an author. My comments on certain aspects of the show (like the blast in "Cops & Robbers" or Kate's PTSD) do stem from personal experience.
@murderboard on twitter
Other posts:
• Episode 4.09: "Kill Shot" / BEST OF
• Episode 4.07: "Cops & Robbers" / BEST OF
• Episode 4.01: "Rise" / BEST OF
Streaming Options
This weeks episode of Glee entitled 'I Kissed a Girl' was all about girl power (would've been a perfect opportunity for some Spice Girls). The episode opens with Mr. Schue, Shelby, Finn and Santana in Principle Figgin's office. Santana is being scolded and possibly suspended for bitch slapping Finn. Fortunately for her Finn denies that Santana slapped him and instead insists that it was a 'stage slap'.
His motives are made clear when he decides to blackmail Santana, in a nice way I should add. He wants her and the Trouble-Tones to join the New Directions for this weeks Glee lesson, again proving what a good leader Finn can be, and is. His reason for the lesson is that he thinks Santana is awesome, but is lonely and angry and wants her to feel loved. This weeks lesson, Lady Music Week. Each member will sing a song for women, about women, by women, again no Spice Girls.
Although Santana is reluctant to participate in the weeks assignment Finn explains to her that everyone in Glee knows about her and Brittany and they except it and embrace her, she has a group of people who wont judge her for who she loves. She also delivers one of my favorite insults that has me laughing out loud every time, 'fetus face' is going in the book of greatest Santana lines ever, outstanding.
There is another great moment with Finn and Santana where he explains why he wants her to be open to this weeks assignment. He cares about her, and although the first time they had sex meant nothing to him, it means something now, because he knows that when it happened, it was not only a bad choice for him, but for Santana she was even more confused. Cory is great in this scene, and although talk about 'It Get's Better' and another teen killing themselves seemed a little out of left field, the sentiment was there. He's worried that when tearing others down isn't enough for her, she's going to harm herself. This had me shaking my head, only for the fact that Santana would never harm her self, if nothing else, she won't accept pity from people. And she proves that point when she states she would never hurt herself, because she would miss herself to much.
The episode also dealt with the results of the student election as well as the community election. Rachel and Kurt are both worried that they are no match for Brittany and her pixie sticks, which as Figgin's proves, are so delicious, honestly Figgin's is the worst principle ever. Kurt even mentions to Rachel that he has thought about cheating, stuffing the ballots in his favor, at first Rachel is applaud, but this is Rachel and she gets over it, in a big way.
There is also more development in the Puck/Shelby relationship, what's that? You don't care because you're all incredibly disgusted and disturbed by this storyline? Well welcome aboard because I was over this storyline before it even started, in actual fact so is Idina Menzel (see my review of her live show in Toronto). Shelby freaks out when Beth splits her lip and rushes her to the hospital, in full on mom panic calls Puck for support, because as a single mother with a full time job, its hard. One inappropriate thing leads to another and they have sex...see inappropriate. Shelby regrets it and tells Puck to leave, saying it shouldn't have happened and it didn't mean anything, unfortunately for him it meant something.
His anger leads him to Quinn's house, where earlier when she propositioned him with sex, he turned to her down stating, he'd rather 'raw dog a beehive' sounds painful. His reasons for turning her down are pretty much what everyone viewing Glee is thinking, she's selfish, angry and a whole lot of crazy. Nonetheless, Puck shows up at her house and while getting their mack on, Quinn states she doesn't care if she gets pregnant again, Beth came out perfect maybe they can make another perfect baby, see crazy! For once Puck actually thinks with the brain above his shoulders, and tells her that he's messed up, everyone in Glee has. All week they were working on helping Santana with her issues that were never a secret, while for three years Quinn and everyone else ignored her's, her anger, her family falling apart and never feeling loved. It was a great moment and I am glad that Puck was the one to bring it up and confront Quinn on, because if nothing else I still totally ship Quick. Their new found understanding leads Puck to admit something to Quinn, that she can't tell anyone about. I'm slightly curious as to why Puck would ever admit to sleeping with Shelby, she is still all kinds of crazy and would obvious use it against her, but maybe not....but probably.
Then there's Sue, with some great jabs at other male journalists as well as one at David Boreanze, that I don't completely understand, Sue is very much straight and starts to date Cooter in order to prove to Ohio that she is straight and rub it in Bieste's face. These scenes just proved how manipulative Sue can be and how well Jane plays it. Still don't care about either of these story line's, even more so, we get that Bieste is a big girl but can the writers be done with the eating of the whole chicken's its not funny and seems to be more of an insult.
Kurt's presidential campaign comes to a screeching halt when he is accused of stuffing the ballots in his favor. Turns out Figgin's thinks he cheated, so he will be suspended. When he tells Finn and Rachel, Rachel admits to Finn that she stuffed the ballots for Kurt, because she knows if he doesn't win there's an even less of chance he'll get into NYADA, and there is no way she's going to New York without her best gay, so...irrational Rachel makes yet another appearance. Let's hope the writers will use this moment as one of growth for Rachel, and not another moment of the Glee Club and Mr. Schue blaming her for their doom, if they lose.
Santana states that she has told her parents about being gay and that they took it well, she just has to tell her grandmother. The scene itself plays out the way it should, with pictures all over the grandmothers fridge it's apparent that Santana has a strong relationship with her grandmother, she is someone who she looks up to and whose opinion matters to her. She explains to her grandmother that she loves girls the way she's supposed to love boys. It's a big moment, but I wished the writers had worded it differently. Meaning, last season Holly Holiday said to both Santana and Brittany, it's not who you are attracted to, but who you fall in love with. While I'm sure Santana is a lesbian and is attracted to girls, it's not about that, the only person she has ever loved is Brittany and for the most part it didn't matter that she was girl, it's who she loved. I wished they had worded it more as, I love Brittany. But the scene was still great Naya again proving she can do dramatic and heartbreaking just as good as mean and hostile. Her grandmother doesn't take the news well and tells her to leave and never come back, I assume this will play into Santana and her choices, if the writers allow it.
Other news Kurt lost and Brittany is the new student President, and Sue lost, actually she came in last, and Burt won the community Election. So there was some right amongst the wrong.
The last 30 seconds of the episode absolutely change what lies ahead for the New Directions. Rachel comes into the choir room in tears where she explains that she is the one who stuffed the Ballots and Kurt is free of suspension. But because she admitted it, she is being suspended for a week, as well as it going on her permanent record and the kicker? She's not allowed to participate in Sections next week. Que gasp. The only good thing about this, besides Lea Michele's stellar acting as always, is that this sets up the New Directions to maybe appreciate Rachel's passion and drive for the club and instead of blaming her, maybe they can understand what she just sacrificed for the people she loves.
The Music:
Perfect-(Blaine and Kurt): They sounded great, and the sentiment was there, but this song absolutely lends itself to a group number, specifically a New Directions group number. Every lyric can be applied to the struggles of the group. I understand why it's Kurt singing it, but it should've been a group number. But I do agree with Santana, Blaine needs a gel-evention and a bow-tie-vention.
I'm The Only One (Puck): Again inappropriate, the song was great and Mark Salling rocked it with his sexy swagger, but fix your hair and avert your eyes from the hot teacher to the blonde in front of you. At least both Quinn and Rachel noticed something was off. While it was nice of Puck to stand up for Santana, the sentiment is completely lost with all the eye banging Puck is doing with Shelby. Great song, great performance, but avert your eyes please.
Girls Just Want to Have Fun-(Finn): Best performance of the show, vocally Cory sounded amazing, his improvement vocally is noticeable and its greatly appreciated. Both Cory and Naya nail the emotion of the scene, and the cut to a sweet Finchel moment is always a bonus. Musically relevant and perfectly executed.
Jolene - (Bieste): She doesn't have the strongest or the most pleasant voice, but she sounded great and the emotion behind the scene was spot on Dot Marie Jones is a force and exceptional in every scene. This scene was relevant all the way through.
I Kissed a Girl- (Santana, Rachel and the Girls): Although i am over Glee doing another Katy Perry song, and sad that another song sung by Tina (see Tonight) is being taken over, the fun-ness factor wins out. The introduction of the performance was made to explain why Santana had so much fear of coming out, a douche of a jock approaches Santana and says he'd be willing to 'fix her straight', which is not only offensive, not off par on the thoughts of many close minded and ignorant people in this world. Luckily she has the girls to back her up for a fun girl power performance, again why no Spice Girls?
Constant Craving-(Santana and Shelby): I love this song and I loved the performance. The lyrics fit perfectly for Santana in what she is dealing with and now has to deal with, inter cut with Shelby's debacle with her attraction to Puck, but knowing it's wrong. This was the perfect song for these two and i could not love their vocals more, amazing duet.
Scene of the episode: Santana telling her grandmother about being gay.
Runner up: Rachel telling the Glee club about her suspension and missing sectionals. Lea kills when it comes to emotion, girl is a power house.
Least favorite scene: Bieste eating the TurDucken, we get it she likes to eat, but knock it off now.
Favorite performance: Tied with Girls just Want to Have Fun and Constant Craving, both we musically relevant and performed perfectly.
Next week: Sectionals: These are always good episodes, with great music and musical numbers. Spoiler: If you're not on Tumblr then you aren't aware of the songs for next week so, Trouble-Tones take on an amazing Mash up of Survivor/ I Will Survive, seriously it's epic. New Directions take on a Michael Jackson Mash Up of ABC, Control and Man in the Mirror, Man in the Mirror is the better of the three but should be good. But the best song of the episode is going to go to our first Finchel duet of the season with Fun's 'We Are Young' seriously the song is on par with 'Sing' emotion wise and relevance.
I won't spoil anymore about the episode except, expect some Faberry scene's that Lea Michele has been tweeting about as well as the return of Sam.
follow me on twitter @NatGee10 and on Tumblr at EpicGlee.tumblr.com
That noise you hear is the sound of Twitter exploding into a million little pieces over the following news: Chris Meloni is being courted to join the cast of True Blood.
Take a deep breath and continue reading…
TVLine has learned exclusively that the former Law & Order: SVU front man is circling what my sources are calling a “major role” in the show’s upcoming fifth season.
But what role? An HBO rep declined to comment, but I hear Meloni — who’s currently shooting a top-secret role in Man of Steel — is in talks to play (duh) an incredibly powerful vampire.
If a deal comes to pass, this would be a major casting coup for True Blood. It would also mark a high-profile return to the small screen for Meloni following his sudden departure from SVU last spring.
Source: TVLine
Streaming Options
Here is Sean Furfaro's recap of The Amazing Race, Episode 10.
My Random Thoughts:
- I loved the reaction of Amani upon finding out that the next leg was starting right away. First she dropped an “oh brother”, and then went crazy and exclaimed “shucks!” Someone get this woman and her language under control! At least it was better than the constant audio clip we hear for Marcus at least 3 times an episode, of him screaming “Whoooo!” like he’s Ric Flair.
- Ernie and Cindy arrived 2nd at the Pit Stop, and when Phil said “You’re team number Two. However…” I fist-pumped and yelled “YES!” at my TV, expecting them to be penalized for stowing away on the train to Brussels last week. But my soul was crushed when Phil followed it up with “…the next leg of the race starts now” and dismissed them with no penalty. That was absolutely brutal.
- Meanwhile, both Andy and Tommy, and Bill and Cathi were still striking a pose at the bodybuilding challenge, which I think was just another way to work in a second week of gratuitous Speedo shots. If you think I’m wrong, watch the camera shot of the Snowboarders ripping open their clue after they finished.
After they arrived at the Pit Stop, they were sent on to the next leg as well, which makes me ask the obvious question: If Amani and Marcus won a trip for winning the leg, how come nobody was eliminated? And even if I buy the excuse that this was an absurd FOURTH non-elimination leg this season, why was that not mentioned? And why was there no Speed Bump? So now, coming in last in a leg incurs no penalty whatsoever?
- At the RoadBlock in Lommel, one member of the team would have to get behind the wheel of “an American icon”, which made wonder what Bob Barker had to do with anything…but I soon found out that Phil was just talking about the Ford Mustang. After the earlier Ford Focus episode, and this week’s Mustang-centric adventure…we get it…Ford is a sponsor!
- The Roadblock itself was described as a 3-part task, but nobody had a problem with part #1 (speeding and braking), or part #3 (double victory donut…which, frankly, sounds delicious if it were a pastry). The second part was a slalom course that had to be completed and stopped in a specified zone in under 16 seconds, and this was problematic for most of the teams.
- Did you notice the difference in the first two instructors we saw at this Roadblock? Jeremy’s instructor was very personable and supportive, giving clear directions along with handshakes and back patting and fist bumps. Ernie’s instructor, on the other hand, was all business, and seemed incredibly disinterested.
- Marcus said that the Roadblock was more of an adrenalin rush than catching touchdown passes, and after completing the entire thing, he arrived back to meet up with Amani, and promptly yelled at her happily “from now on, THAT’S HOW YOU DRIVE!”
Um...no it’s not.
- Tommy ended up doing the Roadblock for Team Snowboarders. Andy explained to us, that since Tommy had trouble with the poem on the last leg, Andy was now going to do the “mind ones” when it comes to Roadblocks. Is it just me, or did he essentially call Tommy stupid and say “I’m doing the ones that involve thinking”?
- After the Roadblock, teams travelled to Gent and found their next clue, which was a Detour offering them a choice between “two things that Belgium is in no short supply of”, Water, or Waffles.
- 3 of the teams chose the Water portion, in which they had to build a raft and search the Gent waterways for two halves of a clue which would tell them their next destination. While they were building their respective rafts, Marcus yelled at the Snowboarders, “You guys are gonna get creamed!”, and they responded by smiling, building their raft, finding both clues, and arriving back before Team NFL was even on the water.
Looking at their waffle machine, Cindy said “that it is spurting like a monster. We’ll call that waffle Ernie”, which made me cringe until I realized that she was talking about flatulence. Jeremy and Sandy had problems, and the Waffle-Maker Judge only offered to them “It’s not quite right. Please go check the demonstration.”
This is what I was saying last week about the Bodybuilding Judges! They should have just given them the score and teams would have to figure out what was wrong instead of being told explicitly. Now, they implement the same logic on the Waffle Detour? If the judges last week could tell them exactly what to do differently, why couldn’t the 15-year-old Belgian kid this week say “Sorry, your blueberries are falling off?”
- On a side note, CTV in Canada has once again been showing a commercial for Dukoral, a medication that helps to control “Traveller’s Diarrhea”, and they showed it right after this challenge. Must be from all of the butter and waffles, this season. This is something that I have ranted about in a previous blog post.
- Ernie and Cindy completed the Detour first, and led the charge to De Muur Van Geraardsbergen, where the next clue told them that they would have to help a pigeon trainer release a flock of homing pigeons. Phil told us “when it comes to international pigeon racing, Belgium is team number one.” Phil, you’re so crafty with your wordplay!
After “helping” the pigeon trainer release the pigeons, they would then have to race to a pre-determined address where they would meet up with the flock and get their next clue from the band on the leg of one of the birds. The reason I put “helping” in quotation marks is because all any of the teams did was watch the trainer open the coop and let the birds out. How is that helping?
I liked the concept of this in principle, but let’s be honest, there’s no way to know if those damn birds flew to that address. For all we know, they just released a bunch of pigeons, gave the teams an address, and planted one bird at that address with the next clue on its leg. I don’t care if that’s what they did, but I’m just saying that it’s not a certainty that all of those birds were even homing pigeons.
- The clue on the bird’s leg told the teams that they could now head to the Pit Stop at the Atomium in Brussels. Ernie and Cindy left in first place, but got lost again, leading to tension between them as Cindy barked at Ernie to stop for directions. Our pal Ernie may be reaching his breaking point as he snapped back “I couldn’t park there because people are on my ass. Chill the hell out.”
- Jeremy and Sandy were team #2, and Ernie and Cindy arrived #3, steaming Cindy once again that they lost out on the prize. Never mind that you’re now in the Final Four and really close to winning the million dollar prize, she’s still annoyed at losing out on short-term gains.
- Amani and Marcus were in the car on the way to the Pit Stop, and we saw Marcus clapping and pumping himself up with sports catch-phrases. He told us that the “next leg is the Conference championship, then on to the Super Bowl.” What do I know, I was watching the Amazing Race while The Grey Cup was on. (For those of you who don’t know, the Grey Cup is the CFL’s version of the Super Bowl.)
Bill summed it up by saying “It’s been a hoot.” I agree.
Next Week: The Final Four are Panicked in Panama.
Streaming Options
Check out my review of tonight's all-new Leverage, "The Experimental Job." What did you think of the show's winter premiere?
In case you missed it, you can also read my interview with stars Beth Riesgraf and Timothy Hutton about season four.
Leverage is back for the last episodes of season four - and I sat down with two of the stars to dish about it! Read the interview with Beth Riesgraf (Parker) and Timothy Hutton (Nate). There are mild spoilers for upcoming episodes.
Don't miss an all-new Leverage tonight at 9 PM ET/PT on TNT, and stay tuned after the show for my review of "The Experimental Job."
Streaming Options
"Stillking wraps production on ABC's "Missing" after a 92 day shoot starring Ashley Judd, Sean Bean, and Keith Carradine. The 10 episode series about a former CIA agent searching across Europe for her kidnapped son shot in the Czech Republic, Croatia, and Istanbul."
Source: Stillking Films
Streaming Options
Smallville‘s Green Arrow aka Justin Hartley has targeted his next TV gig.
Having just recently guest-starred on NBC’s Chuck, Hartley will next appear on ABC’s Castle, TVLine has learned.
In Season 4′s 13th episode, titled “An Embarrassment of Bitches,” Hartley will play the boyfriend of a Kim Kardashian-like reality-TV starlet who is famous just for being famous. (As previously reported, White Collar regular and One Tree Hill alumna Hilarie Burton will play the aforementioned fauxlebrity.)
Castle returns Monday, Dec. 5, with this season’s 10th episode, “Cuffed.”
Source - TVLine
Streaming Options
- How was Cochran being respectful (and PETA-friendly) to the fish as he was ripping its guts out? And what did he mean that he wasn't putting his fingers where the fish wouldn't want them? If given the choice, I'm pretty sure the fish doesn't want your fingers IN THE HOLE YOU JUST CUT IN ITS ABDOMEN.
- Brandon talked with Coach about his goal to play the game honourably (Canadian spelling, even though it's American Thanksgiving) and then we heard a sound bite of him telling us "Nobody would have guessed that Russell Hantz's nephew would do something like that."
But here's the thing...if you listen closely, you can hear that the "Russell Hantz's nephew" is spliced into the sound bite. I'm serious...go back and watch that scene again. It's painfully obvious. Did they just take a recording of him saying that, and work it in wherever it's necessary to remind us that Brandon is his nephew...you know, just in case you forgot.
- Cochran getting advice on how to pick up women at a bar was painful to watch. From the creepy hand motions, to the suspect fashion suggestions (tight shirt to show off Cochran's 'muscles'?), to the stalker-ish "you're really pretty", it was fraught with disaster, Cochran's social awkwardness notwithstanding.
- Coach had a hissy fit about Mikayla taking too much sugar for her coffee, which reminded me of Saggy Drawers Phillip from last season ranting about crispy rice. He decided that the best solution for his ire was to taunt a weak-stomached Mikayla by barbecuing pork fat on a stick and fake gagging in front of her. It seemed to work, and as much as I was a fan of Mikayla, I thought that scene was pretty funny.
- Cochran looked like a boy with a schoolyard crush as he pushed Elyse in the hammock, but the story he told was embarrassing and disgusting. You're seriously going to tell a story about crapping your pants when you were five years old...and in such detail? Well, at least it gave us the line "She got to my butt and, of course, it's jackpot."
- The scene with Ozzy and Cochran killing a rooster was inconsequential, and while you may think it was shown to indicate more of Ozzy's beaviour towards Cochran, I think the message was in the closing comment of this scene from Cochran, where he talked about his strength being able to worm his way into each alliance once the Merge happened and the game became an individual game. Mission accomplished so far.
- Coach wears a toe ring. My girlfriend spotted it in the episode, and the PVR back-up confirmed it. Just wanted to make sure you know that.
- Coach talked to Cochran and compared everyone to Greek figures of myth. I thought it was apt that he compared Cochran to Hercules, because Coach was indeed "riding the bull" with this ridiculous speech.
- We heard that "the weak will become the strong, and the strong will become the weak," which was indeed the case after Cochran flipped, and started the Savaii Domino Chain of Keith, Ozzy, Jim, Dawn, and Whitney being eliminated.
- I say this as a big fan of Sophie, but after weeks and week, I finally realized who she reminds me of:
- Jim didn't say a word until the end of the episode, and even then, it was only to laugh at Brandon for losing the chicken and praying. Yep, Jim is a giant douchebag.
- Based on the editing of this recap show, I'm thinking that Coach and Cochran make it to the end, because it was certainly heavily weighted towards those two. I hope I'm wrong...not because I don't want them to make it, but because I'm getting sick of the blatant editing that gives the whole show/season away.
Streaming Options
TUESDAY, DECEMBER 13
--"RAISING HOPE" - (9:30-10:00 PM ET/PT) CC-HDTV 720p-Dolby Digital 5.1
LIFE IS LIKE A HOLIDAY MOVIE ON AN ALL-NEW "RAISING HOPE" TUESDAY, DECEMBER 13, ON FOX
Bijou Phillips Guest Stars
In a nod to the holiday classic "It's a Wonderful Life," the Chances go to the movies and are surprised when they discover that the film they're watching is strikingly similar to their own family life. Meanwhile, Jimmy is transported into a cinematic dreamlike state and experiences the world as though he never met Hope's serial killer mom Lucy (guest star Bijou Phillips). But when he returns to reality, he soon realizes that life without Hope would not be nearly as sweet in the all-new "It's a Hopeful Life" episode of RAISING HOPE airing Tuesday, Dec. 13 (9:30-10:00 PM ET/PT) on FOX. (HOP-211) (TV-PG D, L, S, V)
Cast: Lucas Neff as Jimmy; Martha Plimpton as Virginia; Garret Dillahunt as Burt; Shannon Woodward as Sabrina; Cloris Leachman as Maw Maw
Source: FOX
Streaming Options
Source: raising-hope.us
Syfy has ordered a pilot based on the DC Comics character Booster Gold, says a story at The Hollywood Reporter. "Fringe" writer Andrew Kreisberg has been tasked with writing a pilot.
Created by Dan Jurgens in 1986 and featured in his own eponymous series, Booster Gold is the superheroic identity of Michael Jon Carter, a resident of the 25th century who travels back in time to the present day DC Universe. There, he makes use of his futuristic technology to become a hero, at first eschewing traditional heroic notions of justice and nobility and instead signing endorsement deals and shamelessly self-promoting.
Booster Gold was featured in the final season of "Smallville," played by Eric Martsolf. There, he teamed with both Clark Kent and Blue Beetle (another incarnation of which was one of the character's best friends in the comics). There is not yet word on whether this new live-action Booster Gold will have any connection to the "Smallville" appearance.
Source - ComingSoon
Streaming Options
Check out my thoughts on tonight's Hawaii Five-0, "Ki'ilua." Were you surprised by any of the twists? What did you think of them?
Programing note: the show is a rerun next Monday, but will be back the week afterward.
TUESDAY, DECEMBER 6
--"RAISING HOPE" - (9:30-10:00 PM ET/PT) CC-HDTV 720p-Dolby Digital 5.1
JIMMY SEEKS REVENGE ON AN OLD HIGH SCHOOL BULLY ON AN ALL-NEW "RAISING HOPE" TUESDAY, DECEMBER 6, ON FOX
YouTube Sensation Greyson Chance Guest Stars
Burt encourages Jimmy to be more of a daredevil. So when Jimmy's co-worker, Frank, invites him to a house party, Jimmy jumps at the chance to unleash his bolder side. As Jimmy and his new pal spend more time together, they discover they shared a common high school bully. In a series of flashbacks, Jimmy and Frank look back at their unhappy high school years as Young Jimmy (guest star Greyson Chance) and Young Frank. But when the two try to take down their old nemesis, they're surprised to learn that the bully has changed in the all-new "The Men of New Natesville" episode of RAISING HOPE airing Tuesday, Dec. 6 (9:30-10:00 PM ET/PT) on FOX. (HOP-209) (TV-PG D, L)
Cast: Lucas Neff as Jimmy; Martha Plimpton as Virginia; Garret Dillahunt as Burt; Shannon Woodward as Sabrina; Cloris Leachman as Maw Maw
Guest Cast: Baylie Cregut as Hope; Rylie Cregut as Hope; Todd Giebenhain as Frank; Jennifer Hasty as Tammy; Bret Loehr as Tommy; Elijah Nelson as Young Frank; George Sharperson as Bus Driver; Greyson Chance as Young Jimmy
Source: FOX
Streaming Options
Here is Sean Furfaro's recap of Amazing Race, Episode 9.
My Random Thoughts:
- This episode started off at the Pit Stop in Copenhagen, Denmark, which Phil told us “has the cleanest waterfront in the world.” Is that really the best point you can come up with when talking about Copenhagen? Not that it is the capital of Denmark, the highest population in Denmark, or even the fact that it has the largest airport in Scandinavia? But rather that our harbour is ok to swim in?
- Ernie and Cindy left the Pit Stop first, and on the way, we learned that Cindy’s parents would have liked for her to marry a Chinese guy, but she hopes they’ll see that her and Ernie have “a very fun relationship.” Can you imagine that discussion? “Mom and Dad, I know you want me to follow our cultural history, but I met this guy in a bar…and he’s lots of fun, so I’m going to do this instead.”
- From the Pit Stop, teams had to find a statue of Hans Christian Andersen where they were faced with a Roadblock asking “Who wants to take a fairy tale ride?” The Roadblock entailed them having to memorize a poem by Andersen, then follow a map on their bike wheel, and then perform the poem for a skeleton wearing a top hat.
Thank God Liz and Marie weren’t still in the Race for this Roadblock. Remember how long it took for them to get a word-for-word repetition earlier in the season? And that was when it was spoken to them and all they had to do was repeat it…having to memorize, ride, and then perform would have been an absolute disaster.
- In the car after the Roadblock, Marcus said that completing that task so fast was like they “took the opening kickoff and ran it for a touchdown.” Between that and Amani comparing herself to Peyton Manning off the top, I’m wishing that I would have implemented an NFL Analogy count for this season, like I have done in previous seasons for things like the Rhode Island Detectives, Louie and Michael, always saying “baby”, or Jordan and Dan calling each other “bro.”
- Cathi couldn’t find the theater at first, then got one word wrong (“untold” vs “remote”) in her performance, but on the second go-around got it. Tommy and Sandy both recited the poem perfectly, but simply read it, leaving Danish Skeletor to tell them “more drama, please. I need you to bring life to the words.” Essentially, they just needed to overact instead of recite…should have asked for advice from Sofia Coppola in Godfather Part III.
- After the Roadblock, teams were off to Legoland park, where they would have to work on a Lego puzzle while riding the Spinning Teacups. The only thing is that they had to fight motion sickness while working on the puzzle, and only while it was actually in motion. Once it stopped, they had to put their hands in the air (but not “wave them like they just don’t care”), and continue again when the ride started up for the next passengers. Eventually, the puzzle would tell them that their next destination was the Hamburg Train Station in Germany.
I was shocked to see that Ernie and Cindy had some initial trouble with the puzzle, because I was assuming I would hear them talk about how they specifically practiced completing Lego puzzles on amusement park rides. But what I really took from this whole challenge was that Legoland looks awesome, and I want to go to there. (Liz Lemon voice)
Amani and Marcus were both on the verge of being sick, leading Amani to say that “I would hate to throw up on any kids.” I guess it would be OK to vomit on the adults? How about the teens?
Jeremy and Sandy nearly got sick as well, and then lost a piece of the puzzle. Andy and Tommy breezed through it, and after finally getting there after getting lost, Bill and Cathi just wanted a hot dog and a Slurpee afterwards.
- On the way to Hamburg, Ernie talked about having an American dialect, and control-freak Cindy was only too happy to correct him and tell him that the word he obviously meant to use was “accent.” Once again, Ernie’s B Student status comes to light.
- At the Hamburg train station, teams found out that they had to take a train to Brussels, Belgium, which would be the 3rd country of the leg. I thought that was pretty lame, because if you’re only going into Germany to pick up a clue and then hop a train, selling this episode as a 3-Country Leg is pretty weak.
- Since the only train was at 12:30 am, teams were going to be, as Cindy whinily put it, “all on the same stupid train.” This apparently angered her so much, that she threw her train tickets on the ground, and continued to whine even more upon discovering that they were gone.
How on Earth this doesn’t equate to a penalty is beyond me. Aren’t they essentially stowaways on the train now? If Phil won’t check them in at the Pit Stop for not settling up with their cab driver, how can teams take a train without a ticket and not be penalized?
- In Brussels, teams had to find the Parliament building for their next clue, which reminded us that “Jean-Claude Van Damme is Belgium’s most famous bodybuilder.” Do you think that Belgium’s second most famous bodybuilder has a hissy fit every time Bloodsport comes on TV?‘
The clue told the teams that they would “now have a chance to walk in the shoes of the Muscles from Brussels” as they would have to compete in a Bodybuilding Posedown. And not just compete, mind you, but compete while wearing tiny orange speedos, a bronzing paint that was referred to as “Competition Oil” (??), and impressing a panel of roided-up Belgians until they scored a total of 12 points. All of this was explained with the added bonus of Phil demonstrating…complete with “flexed” eyebrow.
- I didn’t like that the judges gave their critiques in English. How much better would it have been to see them just give the score and have the teams have to adjust? There is always a language barrier in other countries on TAR, but in this episode, it seemed like everyone in Belgium spoke English.
- And yes, I saw Ernie giggling at Andy and Tommy putting oil on each other, and talking about locking eyes with a man in the audience, and then spinning around as he ran out of the Bodybuilding hall. But even though I get 10-15 hits a day from people Googling “Ernie Amazing Race Gay”…I’m not going there.
- A couple of thoughts: First, I didn’t like the ending, but only because I need to see if Ernie and Cindy got a penalty for not having tickets for the train. If they don’t have one next week upon reaching the Pit Stop Mat, I’m going to be furious. Second, why was there no Detour on this Leg? Only a Roadblock and 2 team tasks?
Next Week: Trash Talk in Belgium And Driving Really Fast
Streaming Options
x
EP. 4.01: "RISE" / BEST OF
"BECKETT FIGHTS FOR HER LIFE AS CASTLE STRUGGLES TO UNCOVER WHO'S BEHIND HER BRUTAL SHOOTING."EP. 4.01: "RISE" / BEST OF
x
..IN A NUTSHELL..
A brilliant follow-up to last season's cliffhanger. -- Contains one of the most realistic scenes I've seen on TV.
x
So many dramatic moments stand out in this episode...
• Beckett fighting for her life. -- Even though there is no real doubt she is going to make it, there's enough gore and tension to convey that something truly horrible - and life-altering - is happening to her. Just seeing fearless Beckett unconscious and barely alive would have been disturbing enough, but the small details like her blood dripping from the gurney or oozing out of the chest tube made the extent of her injuries hard to take in. -- Chilling, and incredibly well-filmed, first sequence.
• Castle & Martha, waiting for news in the hospital: lovely mother-and-son moment. -- "This is my fault. (...) I put her in the crosshairs". Nathan Fillion's delivery was especially poignant there.
• Castle & Beckett talking in the recovery room. You can clearly see that Beckett is lying -- and kudos to Stana Katic for managing to show a) how vulnerable and torn Beckett is, and b) that she's hiding it from Castle: not an easy thing to pull off. On paper, the scene was already great, but several details made it even more layered on the screen:
- Castle checking himself out in a mirror before entering the room, followed by Beckett's first reaction: "You're staring at me, I must look really bad." -- Nice way to show how self-conscious the two of them are: nervous and worried about how they'll be perceived by the other.
- Nathan Fillion and Stana Katic using the same body language throughout the scene: looking down and only glancing at each other from time to time. Very efficient mirror effect.
- The music - both romantic *and* tense -, adding to the slightly "off" nature of their exchange, especially when Beckett recalls Montgomery's death: haunted voice and facial expressions from Stana Katic; haunting music.
• The swing scene -- Really interesting angle from a storytelling point of view. First, Beckett verbalizing why she's unable to fully commit to a relationship is a real pay-off in terms of character development, especially after THREE seasons of knowing *very* little about her inner thoughts! Second, by stating where Beckett wants to be at, and what must be done in order to get there, the showrunners have created a wealth of dramatic situations to be mined: Beckett may have identified/acknowledged her demons, but she still has to conquer them... And we're now *with* her as the battle begins. Very exciting direction.
• The first PTSD scene -- Beckett freezing when confronted with an armed suspect: one of the most powerful and realistic scenes I've seen on TV. I have experienced a similar situation (see author's notes) and this scene is the most accurate representation I have ever seen of what it feels like, in real life. The "white noise", the heavy breathing, the time "slowing down", that strange feeling of being frozen and hyper-aware at the same time. Not sure how Stana Katic and the production team managed do get it so right, but that scene was incredibly close to the real thing. -- The way it was shot was also outstanding: the dark green light, the close-up of Beckett's gun, Esposito and Ryan running past her (painfully showing how still she is), her hand shaking as she struggles to put her weapon back in its holster... Film-making and acting at its best.
• Beckett dismissing Castle's concern over her PTSD. Very much what you would expect from Beckett, and from Castle, but the stakes are much higher now. You're still watching the same people you've been watching for years, but there's a slight edge to them. Subtle, but there.
• Beckett's emotional breakdown in her apartment -- “(...) If this was an accident, then I’ve got nothing. The guy who shot me is gone. Dick Coonan, gone. Hal Lockwood, gone. Montgomery, gone. My mom. Everybody is gone, Castle." -- Kudos to Stana Katic for making that speech so moving and heart-wrenching.
• Castle & Beckett the next day, at the precinct. Another great scene and great piece of dialogue.
• The second PTSD scene, book-ending the first one: beautifully shot and perfectly acted. The way Stana Katic squeezes her eyes shut to chase away her demons was brilliant. The way she stammers... struggles with words: "Don't... don't... Don't move, Mitch!". Castle talking to her, guiding her through it. We literally see "old Beckett " resurfacing, regaining her confidence. Tense and poignant.
• The ending -- Next to no dialogue. Powerful images of Castle and his secret murder board, followed by Beckett crying during her therapy session. -- "I remember, everything." -- A brilliant way to end an episode, and a key moment for future ones.
• "I. Want. My. Gun." -- The way Stana Katic played that beat made Beckett come across as both furious and childish. Brilliant choice.
• Ryan scared of "Iron Gates" -- Seamus Dever manages some really funny looks and reactions throughout the episode.
• "Yes ma'am/sir" exchange between Castle & Gates -- Once again, Nathan Fillion nails the "kid in trouble" body language and awkwardness. One single word - (sheepishly): "Sir." - and he manages to turn it into an hilarious beat.
• "If you don't mind, I'd like my gun back" -- Beckett shoving her target practice sheet onto Gates' desk. Right in-your-face. Major Beckett attitude there.
• Beckett & Castle hiding from Gates, and Gates shouting: "You too Beckett!". Loved the two of them behaving like little kids (and Gates literally having eyes in the back of her head). Typical "Castle moment"™.
• The quick cuts at the start: Beckett on the gurney, heart monitor, blood... Very efficient and very visual (especially the neon-bright colours: blue, red, green, etc.).
• "3 months later" -- Even though I would I've liked more hospital scenes and some insight into Beckett's recovery, the time jump worked very well. When we see Beckett again, we know some time has passed, and that first shot of her at the precinct, looking at her mom's ring, was beautifully shot and moving. -- Beckett is back, but you also sense right away that something is amiss: she looks different, reflective and more vulnerable.
• The band's rehearsal space/warehouse -- The two scenes shot there were incredibly visual and well-shot. The set, the blue light, the action, the tension... Some shots looked like paintings: beautifully framed and lit.
• The therapist's office. Again: great set, great lighting and great framing. For some reason, I also liked the shoes on the floor, like two dots in an abstract painting.
• "If my mother drops by you can call her ma'am. Call me sir or captain." -- First time we hear the new captain, and right away, we know what type of person she is.
• "Castle, wait!" / "I did, three months." -- Beckett and Castle outside the book store. Great way to set the tone when the two of them finally reunite (and nice play on words). Castle's angry; Beckett's out of her comfort zone. So glad the writers/producers didn't opt for a happy-soapy-Hallmark-moment here.
• "Showing her up with the mayor? You might as well have beaten a beehive with a bat!"-- Beckett to Castle (about Gates).
• "What are you saying? You sleep-shot her? -- Ryan, interrogating a suspect.
• "I'm fine." / "No you're not. And you know you're not." -- Becket and Castle. Loved Castle's line, and Nathan Fillion's delivery was perfect: sweet, caring, touching.
• Stana Katic. -- Utterly convincing as a broken Beckett who's trying to hide it. The PTSD scenes were outstanding, and throughout the episode, she manages to convey such a wide range of emotions: frustration, doubt, fear, panic, anger, regret, confusion... Very impressive.
• The production team. -- This episode was so well filmed and lit. The sets were great. It had action sequences, emotional moments, funny beats. A real feast.
• The showrunners/writers. -- This episode was jam-packed with inspired choices in terms of storytelling and character development, creating *so* much potential for future episodes. The lies, Beckett's PTSD, her physical injuries, the introduction of the shrink (*finally* allowing us to get into Beckett's head!)...
• Whoever came up with the double twist at the end! -- Castle and his own murder board; Beckett's admitting she lied. Somehow reminiscent of the double blow at the end of Knockout (Montgomery's death; Beckett's shooting). Some shows stall or go overboard after a few seasons. The Castle team knows exactly what they're doing right now. So lovely to see a character-based show doing so well.
Lots of major scenes in this episode (already covered), and several turning points:
• The lies: Beckett (not-) remembering the shooting, and therefore, Castle's "I love you."; Castle (not-) investigating Johanna Beckett's murder. Brilliant set-up for the rest of the season/series.
• The shift in their relationship: Beckett more vulnerable and Castle daring to push her more on personal matters.
• Josh: now out of the picture.
• The new Captain allowing more Castle & Beckett complicity, i.e. "Castle & Beckett vs Gates".
• Beckett opening up to Castle: the swing scene, when she breaks down in her apartment, and the next day at the precinct. It doesn’t feel like their relationship has suddenly changed, more like major events have pushed it into new territories, strengthened it.
Other posts:
• Episode 4.09: "Kill Shot" / BEST OF
• Episode 4.07: "Cops & Robbers" / BEST OF
• Episode 4.01: "Rise" / BEST OF
..DRAMATIC HIGHLIGHTS..
So many dramatic moments stand out in this episode...• Beckett fighting for her life. -- Even though there is no real doubt she is going to make it, there's enough gore and tension to convey that something truly horrible - and life-altering - is happening to her. Just seeing fearless Beckett unconscious and barely alive would have been disturbing enough, but the small details like her blood dripping from the gurney or oozing out of the chest tube made the extent of her injuries hard to take in. -- Chilling, and incredibly well-filmed, first sequence.
• Castle & Martha, waiting for news in the hospital: lovely mother-and-son moment. -- "This is my fault. (...) I put her in the crosshairs". Nathan Fillion's delivery was especially poignant there.
• Castle & Beckett talking in the recovery room. You can clearly see that Beckett is lying -- and kudos to Stana Katic for managing to show a) how vulnerable and torn Beckett is, and b) that she's hiding it from Castle: not an easy thing to pull off. On paper, the scene was already great, but several details made it even more layered on the screen:
- Castle checking himself out in a mirror before entering the room, followed by Beckett's first reaction: "You're staring at me, I must look really bad." -- Nice way to show how self-conscious the two of them are: nervous and worried about how they'll be perceived by the other.
- Nathan Fillion and Stana Katic using the same body language throughout the scene: looking down and only glancing at each other from time to time. Very efficient mirror effect.
- The music - both romantic *and* tense -, adding to the slightly "off" nature of their exchange, especially when Beckett recalls Montgomery's death: haunted voice and facial expressions from Stana Katic; haunting music.
• The swing scene -- Really interesting angle from a storytelling point of view. First, Beckett verbalizing why she's unable to fully commit to a relationship is a real pay-off in terms of character development, especially after THREE seasons of knowing *very* little about her inner thoughts! Second, by stating where Beckett wants to be at, and what must be done in order to get there, the showrunners have created a wealth of dramatic situations to be mined: Beckett may have identified/acknowledged her demons, but she still has to conquer them... And we're now *with* her as the battle begins. Very exciting direction.
• The first PTSD scene -- Beckett freezing when confronted with an armed suspect: one of the most powerful and realistic scenes I've seen on TV. I have experienced a similar situation (see author's notes) and this scene is the most accurate representation I have ever seen of what it feels like, in real life. The "white noise", the heavy breathing, the time "slowing down", that strange feeling of being frozen and hyper-aware at the same time. Not sure how Stana Katic and the production team managed do get it so right, but that scene was incredibly close to the real thing. -- The way it was shot was also outstanding: the dark green light, the close-up of Beckett's gun, Esposito and Ryan running past her (painfully showing how still she is), her hand shaking as she struggles to put her weapon back in its holster... Film-making and acting at its best.• Beckett dismissing Castle's concern over her PTSD. Very much what you would expect from Beckett, and from Castle, but the stakes are much higher now. You're still watching the same people you've been watching for years, but there's a slight edge to them. Subtle, but there.
• Beckett's emotional breakdown in her apartment -- “(...) If this was an accident, then I’ve got nothing. The guy who shot me is gone. Dick Coonan, gone. Hal Lockwood, gone. Montgomery, gone. My mom. Everybody is gone, Castle." -- Kudos to Stana Katic for making that speech so moving and heart-wrenching.
• Castle & Beckett the next day, at the precinct. Another great scene and great piece of dialogue.
• The second PTSD scene, book-ending the first one: beautifully shot and perfectly acted. The way Stana Katic squeezes her eyes shut to chase away her demons was brilliant. The way she stammers... struggles with words: "Don't... don't... Don't move, Mitch!". Castle talking to her, guiding her through it. We literally see "old Beckett " resurfacing, regaining her confidence. Tense and poignant.
• The ending -- Next to no dialogue. Powerful images of Castle and his secret murder board, followed by Beckett crying during her therapy session. -- "I remember, everything." -- A brilliant way to end an episode, and a key moment for future ones.
..FUNNIEST MOMENTS..
• "I. Want. My. Gun." -- The way Stana Katic played that beat made Beckett come across as both furious and childish. Brilliant choice.
• Ryan scared of "Iron Gates" -- Seamus Dever manages some really funny looks and reactions throughout the episode.
• "Yes ma'am/sir" exchange between Castle & Gates -- Once again, Nathan Fillion nails the "kid in trouble" body language and awkwardness. One single word - (sheepishly): "Sir." - and he manages to turn it into an hilarious beat.
• "If you don't mind, I'd like my gun back" -- Beckett shoving her target practice sheet onto Gates' desk. Right in-your-face. Major Beckett attitude there.
• Beckett & Castle hiding from Gates, and Gates shouting: "You too Beckett!". Loved the two of them behaving like little kids (and Gates literally having eyes in the back of her head). Typical "Castle moment"™.
..GREAT CINEMATOGRAPHY..
• The quick cuts at the start: Beckett on the gurney, heart monitor, blood... Very efficient and very visual (especially the neon-bright colours: blue, red, green, etc.).
• "3 months later" -- Even though I would I've liked more hospital scenes and some insight into Beckett's recovery, the time jump worked very well. When we see Beckett again, we know some time has passed, and that first shot of her at the precinct, looking at her mom's ring, was beautifully shot and moving. -- Beckett is back, but you also sense right away that something is amiss: she looks different, reflective and more vulnerable.
• The band's rehearsal space/warehouse -- The two scenes shot there were incredibly visual and well-shot. The set, the blue light, the action, the tension... Some shots looked like paintings: beautifully framed and lit.
• The therapist's office. Again: great set, great lighting and great framing. For some reason, I also liked the shoes on the floor, like two dots in an abstract painting.
..FAVOURITE QUOTES..
• "If my mother drops by you can call her ma'am. Call me sir or captain." -- First time we hear the new captain, and right away, we know what type of person she is. • "Castle, wait!" / "I did, three months." -- Beckett and Castle outside the book store. Great way to set the tone when the two of them finally reunite (and nice play on words). Castle's angry; Beckett's out of her comfort zone. So glad the writers/producers didn't opt for a happy-soapy-Hallmark-moment here.
• "Showing her up with the mayor? You might as well have beaten a beehive with a bat!"-- Beckett to Castle (about Gates).
• "What are you saying? You sleep-shot her? -- Ryan, interrogating a suspect.
• "I'm fine." / "No you're not. And you know you're not." -- Becket and Castle. Loved Castle's line, and Nathan Fillion's delivery was perfect: sweet, caring, touching.
..SPECIAL KUDOS..
• Stana Katic. -- Utterly convincing as a broken Beckett who's trying to hide it. The PTSD scenes were outstanding, and throughout the episode, she manages to convey such a wide range of emotions: frustration, doubt, fear, panic, anger, regret, confusion... Very impressive.• The production team. -- This episode was so well filmed and lit. The sets were great. It had action sequences, emotional moments, funny beats. A real feast.
• The showrunners/writers. -- This episode was jam-packed with inspired choices in terms of storytelling and character development, creating *so* much potential for future episodes. The lies, Beckett's PTSD, her physical injuries, the introduction of the shrink (*finally* allowing us to get into Beckett's head!)...
• Whoever came up with the double twist at the end! -- Castle and his own murder board; Beckett's admitting she lied. Somehow reminiscent of the double blow at the end of Knockout (Montgomery's death; Beckett's shooting). Some shows stall or go overboard after a few seasons. The Castle team knows exactly what they're doing right now. So lovely to see a character-based show doing so well.
..CASTLE & BECKETT..
Lots of major scenes in this episode (already covered), and several turning points:
• The lies: Beckett (not-) remembering the shooting, and therefore, Castle's "I love you."; Castle (not-) investigating Johanna Beckett's murder. Brilliant set-up for the rest of the season/series.
• The shift in their relationship: Beckett more vulnerable and Castle daring to push her more on personal matters.
• Josh: now out of the picture.
• The new Captain allowing more Castle & Beckett complicity, i.e. "Castle & Beckett vs Gates".
• Beckett opening up to Castle: the swing scene, when she breaks down in her apartment, and the next day at the precinct. It doesn’t feel like their relationship has suddenly changed, more like major events have pushed it into new territories, strengthened it.
..NOT SO SURE.....
• As I mentioned earlier, I would have liked to see more of the direct aftermath of the shooting (hospital scenes, recovery period, etc.) - and especially would have liked a scene between Beckett and her father.
• Wasn't too keen on the Castle & co. scenes while waiting for news at the hospital: a bit too melodramatic for me. Same goes for Josh's reactions (in the operating room and in the corridor). Didn't feel much there.
• Wasn't too keen on the Castle & co. scenes while waiting for news at the hospital: a bit too melodramatic for me. Same goes for Josh's reactions (in the operating room and in the corridor). Didn't feel much there.
..TOP 3..
If I had to choose...
#01: First PTSD scene: Beckett freezing.
#02: Second PTSD scene: Beckett conquering her fears, with Castle's help.
#03: "I remember, everything."
(very close runner-up! > "I. Want. My. Gun." -- Such a funny choice in terms of line delivery.)
#01: First PTSD scene: Beckett freezing.
#02: Second PTSD scene: Beckett conquering her fears, with Castle's help.
#03: "I remember, everything."
(very close runner-up! > "I. Want. My. Gun." -- Such a funny choice in terms of line delivery.)
Agree? Disagree? Leave your comments below!
..AUTHOR..
CAROLINE is the author of a series of thrillers set in Vancouver [ www.seriecsu.com ]. She also writes for a TV magazine: articles, interviews and BTS reports. She currently enjoys CASTLE, FRINGE & THE KILLING.
Author's notes - I started watching Castle for two main reasons: Beckett was in many ways like the main character I had created for my series (a strong, guarded and caring female cop, dealing with a traumatic past... who also happened to be called Kate); Castle was a writer with an overactive imagination (something I could personally relate to!). Over the course of the seasons, I have liked some episodes way more than others, but the show has never failed to deliver some special moments for me - touching, moving, funny... -- The aim of this blog is to share some of my thoughts on the show, via a series of reviews and features. On a more personal note: I live in Belfast (Northern Ireland) where I have witnessed acts of violence such as shootings and explosions - something that has shaped me as a person and as an author. My comments on certain aspects of the show (like the blast in "Cops & Robbers" or Kate's PTSD) do stem from personal experience.
@murderboard on twitter
Other posts:
• Episode 4.09: "Kill Shot" / BEST OF
• Episode 4.07: "Cops & Robbers" / BEST OF
• Episode 4.01: "Rise" / BEST OF
Streaming Options
Subscribe to:
Posts (Atom)
