Castle 8x22 Review: “Crossfire” (The Closing of the Book) [Contributor: Hope]

“Crossfire”

Original Airdate: May 16, 2016

I honestly don't know where to start. I thought I would address the turn of events — the cancellation, surely in no small part due to the fandom’s backlash — and then try to ignore the drama and view this episode as I wanted to: as the series finale of a show I’ve been invested in longer than any show currently airing. A show that I became so invested in so quickly. A show that I was lucky enough to get the chance to review, if only for its last season. I wanted to pay tribute to that show.

And I will. But I can't ignore what just happened on my screen, what was clearly not only an ending we were never meant to see, but also one that was not, in fact, swapped with the original cliffhanger. Oh no, that gut-wrenching scene happened. It was then followed by less than a minute — 34 seconds to be exact — of a final, happy-ending scene that you could have blinked and missed. Don't get me wrong, I loved that scene. I had only dared to hope for a scene where they were both smiling and happy, with little to no allusion to their future. If anything, I expected them to ride off on their motorcycles or fly to Paris like they had been talking about. It was more than I was asking for, in that respect.

As a long-time viewer, I’m disappointed that we didn't get a true finale. I would venture to say that the season seven finale was more wrapped up than this was. I remember watching that final scene, where every character was acknowledged, and thinking that I would have been content with that. The future the time traveler had foretold was waiting in the wings. But that final, squeezed-in-there excuse for a scene is still something that I loved even as I was feeling completely robbed. It was beautiful. And that ending, after I come around to accepting it, is what will allow me to love this series as a complete whole — and not just up to a certain point.

THE LAST STAND

A wise man once said that if you're lucky enough, you'll find people who will stand with you. Beckett found those people in spades.

The episode didn’t waste time in going right into the LokSat takedown. They received the call on the burner phone, as Caleb had said they would, and when Vikram wasn’t able to trace the call, they hid at the drop site with Castle and Beckett behind pallets and Hayley at a sniper perch overhead. Castle leaving cover to try to set Beckett’s camera’s F-stop off auto made for a cute scene, but it was strange. You have tons of image enhancers at the precinct, right? Why now?

Then they realized that Caleb was dead, and a whole flock of baddies with machine guns started pummeling them (it was an awesome scene, I’m not going to lie). That is, until a Korean taco truck pulled up between them and the herd of machine guns, and they got in. Children, do not go into the Korean taco trucks of strangers, even if they claim have been sent by your stepmother. Just don’t. It turns out the driver of said truck was Mason Woods, the president of the Greatest Detectives Society. (Who was only in one episode, and who I didn’t even recognize.) He said that Rita had sent him in as a babysitter, and Castle trusted him right away. Beckett wasn’t so sure.

They then decided that their families had to be protected. Mr. Beckett was away on business, so Castle only had to round up Martha and Alexis and hide them in the P.I. office’s panic room. And of course, Castle and Beckett had to separate, which is pretty much the number one thing you shouldn’t do when everything hits the fan. Do not go into strange taco trucks, do not split up, and do not run to the top level any building. It’s basic thriller rules, people. You’re a cop and a mystery writer and I KNOW YOU KNOW THESE RULES.

However, Beckett made the point that she was in her police station, with HER cops (did anyone else feel so proud of her right then?). She couldn’t be in a safer place than at the precinct. Especially with her two adoptive brothers, Kevin Ryan and Javier Esposito, clued in thanks to Vikram, willing to do anything for her. At first they looked so very betrayed that she hadn’t told them about LokSat, and she looked so betrayed by Vikram, because she was counting on these two NOT knowing. She didn’t want them to be targets, but they so selflessly joined the cause, despite risking everything.

There was talk of “going dark for a while,” which seemed right in line with the hints in recent episodes about Castle and Beckett making major changes to their lives. Of course, at this point we could be about 95% sure this wouldn’t happen. Could the happy ending really be them in witness protection with new identities? Yeah, that doesn’t sound right. Vikram was also debating quitting the force, saying he wanted to “go back to being boring,” and it seemed like that idea appealed to Beckett a little as well.

Then followed a series of stupid decisions that I honestly can’t even suspend my disbelief for. Why did they assume the suspect didn’t go out his back door after he got home? Why did that occur to no one? They also assumed that they were one step ahead, which was wrong, but at least that is understandable. Everything that happened was planned out, and they were simply being moved around like pawns. That was part of the suspense of the episode, so I’ll give them that. But leaving the station? And not telling anyone? Beckett is better than this, writers. She’s headstrong, but she’s also smart. She was just attacked by a miniature army of machine guns. This was not a time to be striking out on your own. She knew Castle thought she was at the precinct. And him going to the precinct in spite of already being safe at the P.I. office wasn’t that hard of a thing to predict. Was she keeping him safe? We went through this in the first half of the season, folks. Stop beating this “protecting others by being stupidly independent” idea. It’s character regression, and that’s not something one likes to see in a series finale. Or a character’s final episode.

Of course Castle did leave the panic room, but not before stopping Hayley from going with him. He asked her to stay with his mother and daughter, and she went along with it. That left the takedown completely in the hands of our core four, and it was only right that way.

Rule number four: if you’re running from an evil band of criminals, maybe be more selective about what taxi you ride in? Like, if your cabbie is playing children’s music and looks suspicious and unhinged, maybe get a different cab? Maybe walk? Maybe STAY WHERE YOU ARE?

Anyway. Beckett, meanwhile, leaned up against her old desk in thought, one last time for old time’s sake. Castle ended up tied to this ominous-looking chair with his terrible choice of a cabbie standing over him, ready to give him truth serum in an IV. Castle was completely confident that he wouldn’t cave in if he was tortured, which was sweet but also a little too optimistic. Creepy Cabbie started questioning him about his life, saying, “I never knew love in the way you so clearly do.” He pointed out how much Castle had changed, and in turn he replied that it was because she had made him a better man. This was important. I know that this was all leading up to what was supposed to be her death, but it’s still important. She wasn’t just his muse, she was his light and he was hers. They both needed that. So often on TV, I think it’s usually skewed toward being a one-way street. One person needs the other in order to grow more than the other person does. This wasn’t the case here. I think that’s part of what I really loved about these two.

Creepy Cabbie then pointed out to him, “she’s the reason you are on this table. Surely you would take a do-over if offered.” “No, I wouldn’t.” Then followed THAT line from the promo, that “everything ends in tragedy, even epic love stories like yours, and there’s nothing you can do about it.” (Round of applause to the fandom. You did something about it.) Castle, as always, had tried to cope by being funny… until things soon turned very serious. Because not only was Castle going to sing like a canary, but also LokSat walked in.

LOKSAT REVEALED

In the anticlimax to end all anticlimaxes, some random dude entered the room. Oh right, I forgot who he was again. He was Mason Woods, that GDS dude who had been “keeping an eye on Castle” and who we have absolutely zero attachment to. And who makes zero sense. Why is he called LokSat? Why does he wreak havoc? Did Lost Months Castle know it was him? All these things are unknown. Beckett’s mom’s case was such an important aspect of the show, and it was perfectly wrapped up at the end of season six. We knew that Bracken was associated with something even bigger... and I guess that was a one-off character who had nothing to do with anything. If you’re going to pull out this storyline again, at least make it have a huge payoff.

Mason proceeded to get Castle to tell him, one by one, everyone who knew about the LokSat case. Now, “truth serum” scenes are hard to fully believe, so I have to give credit where credit is due — this scene was amazingly acted. The way he tearfully choked out “yes” to all their names was heart-wrenching.

Then Mason went off to meet Beckett about a “lead” on the case, while Creepy Cabbie prepared to kill Castle. Until Ryan and Espo plowed their way past the guards and epically descended upon the room. They fought off backup attackers while Castle gave (an overdose of?) truth serum to the cabbie, who told him Mason was bringing Beckett to the basement of that very building. Ryan and Espo tossed him a gun while they fended off their attackers, and Castle broke his way through a wall and somehow ended up in the basement (???).

Mason had a little heart-to-heart with Beckett, asking her why she continued on this case when she had so much to live for. He looked seriously interested to know, almost too interested for a soulless killer. She pointed out that she took an oath to protect the city. And that Castle is “the love of [her] life, and he understands the sacrifice [she has] to make for this job.” He pointed out that she had a lot of weight to carry, to which she replied “you can’t carry it alone.” THAT was nice. That at least reflected her character growth.

Then they went to the basement room with the creepy incinerator, and as he turned to shut the door behind them, she pulled her gun on him because she’s not stupid. She suspected something was off with this guy all along and I’m just happy the writers let her retain that much of her common sense. Unfortunately, the ceiling was magnetized and her gun flew out of her hand. He then went on to tell her that Castle was dead and in that aforementioned incinerator. Katic perfected this expression of guarded determination combined with such despair in her eyes. She really did an amazing job in this episode, and I’m sorry she was undervalued by this series. I hope she goes on to star in something else incredibly successful, because she deserved better than this ending.

Castle barged in, but his gun was also sucked to the ceiling. Beckett quickly took down Mason while he was distracted and these two hugged it out. 

THE LAST FIVE MINUTES

It was 7 a.m. and everything was sunny at the 12th Precinct. Everyone hugged. Castle, Alexis, and Martha. Kate and Lanie. Ryan, Espo, Lanie, and Vikram (who decided not resign) went out to eat, while Castle and Beckett went home for breakfast. And all was right with the world.

Wait, what’s that noise? Oh, just the writers’ evil laughter. Why take out the cliffhanger and give the audience two whole minutes devoted to wrapping everything up?

Castle realized Caleb’s death didn’t make sense, but it was too late. Caleb stepped out of the shadows (at 7 a.m.? Coming from, if my mental map of the loft is correct, nowhere he could be in hiding?) and shot him. Beckett came into the room and shot Caleb over and over again... and stood there to see she had killed him. And then she collapsed because she had been shot, too, and the two soul mates dragged themselves towards each other and held hands and WHY DID WE HAVE TO SEE THIS. Why?

The focus went soft and panned to an empty room (???) as an audio clip from the first episode played. Then the camera panned more, to the loft... seven years later and filled with a lot of toys. A girl and twin boys are running around, Castle and Beckett chasing after them (major credit to casting here — they were perfect). In a whirlwind of quick little shots and a flurry of activity, they sit down with their children for breakfast. Then, for whatever reason, they don’t speak, they just hold hands and instead, there is a voiceover:

Castle: “Every writer needs his inspiration, and I found mine.”

Beckett: “Always.”

Castle: “Always.”

WHAT WAS WRONG ABOUT THIS ENDING

First and foremost, this was not a series finale. It was not structured like one. Sure, it was a high stakes episode, but Castle has had ones before, and those made a whole lot more sense. Secondly, if you’re turning your season finale into a series finale, then make an effort. Don’t make a 34-second clip to add onto the end of a horrific, tragic scene. The proportion is way off if eight seasons comes down to 34 seconds.

It also melted the whole thing down to Beckett being Castle’s inspiration, which is true, and not just as a muse. I would have liked, however, for Beckett to have more of a line than “always” (which was shoehorned in there, anyway). There hadn’t been a doubt in my mind that this alternative ending would end with “always,” but as I said before, this was a two-way street and the writers could have at least attempted to articulate their relationship with a little more dialogue. Or voiceover, should I say. Why was it a voiceover? They never said a word to each other. One of the most shocking things in the moment was that, as they were lying there, dying, they didn’t say anything to each other. I expected them to. I waited for them to. Nothing.

This incredibly short ending also brushed off Ryan, Esposito, Lanie, Martha, and Alexis. What about them? What does Alexis grow up to do? Do Lanie and Espo end up together? Do all their kids play together? THAT would have been an amazing flash forward — everyone at the park (THE park with the swings), playing with their children together.

There was no need for them to almost die. Within the span of five minutes, we went from chaos to happiness, back to chaos, and a flash forward to happiness. It was emotional whiplash. They probably ran over on time because they added that final scene, and it just felt rushed. The happy ending itself was amazing, but the execution of it was too little, too late. Season seven’s finale let every character be brought forward and said goodbye to. This episode didn’t do that. Even in the span of two minutes instead of 34 seconds, we could have gotten so much more.

THE END

Everything is now left to our imaginations to fill in. We don’t get to really see or experience their happy ending. But we do know they got one, and that in itself is a huge relief.

I want to say thank you to Marlowe and Miller for this wonderful creation and these wonderful characters. There are many shows that have inspired me as a writer, but Castle was one of the first. The heart and soul of the show you created is something that lives beyond an ending, to whatever extent that ending gives closure. And thank you to the cast, who did a wonderful job in this episode, and who brought these characters to life and gave them the dynamics the audience has loved for eight years. This show will be missed so very much.

Thank you for reading this extremely long review, and thank you if you’ve stuck with me through this season. I had such high hopes for it, and it’s been a rough ride, but it wasn’t completely for nothing. We got a happy ending, as short as it was, to what has been a really, really great story.

Notepad:

• “Oh my God, could my first wife be LokSat, because that would make a lot of sense.” 
• “[He] just happens to be in the right place at the right time with the right Korean taco truck?” Why DID he save them? Ugh, this doesn’t make sense.
• When Castle and Beckett said goodbye and I love you before they separated, they were silhouetted by the sun and it was just the most beautiful shot.
• “And let you go to war without your two best soldiers?” And that you are, Ryan and Espo. That you are. 
• “He does know I’m captain, right?”
• “If I wasn’t scared out of my mind, this would be a lovely afternoon.” Goodbye, Martha. You were a gem.
• Wasn’t Alexis graduating this year? Funny how she was so present this season, and yet the writers completely disregarded this.
• “I fell in love with her.” “Why?” “Because I had never met anyone like her.” “You’ve never met anyone like me.” “You don’t have the legs... or the eyes... or the brains… or the heart. Beckett makes me laugh. She challenges me. I became a better man.”
• “I need a miracle, guys.” “One miracle coming up.” 
• “It would’ve been great.” “You have no idea.” I’ll give Castle this: that audio clip was a perfect choice. They had no idea this much was in store for them. And it’s kind of wonderful. 
• Seven years. That’s almost as long as the show has been on. I want to know what happened after they were shot. Let me try... Ryan, Espo, and Lanie also realize that Caleb’s death didn’t make sense, so they rush to the loft. Now a two-time survivor of near-fatal gunshot wounds (that’s just cruel), Beckett slowly makes her way out of policing and into politics. Castle, after his near-brush with death, loses his passion for mystery writing and turns to more serious literature. Lanie and Espo are brought back together. Everyone still joins forces every once in a while for a good round of crime solving.
• Castle and its characters will always have a special place in my TV-loving heart. I would have watched it for years to come if it had stayed true to its premise. Mondays will never be quite the same without it.

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Castle 8x21 Review: “Hell to Pay” (End of Days) [Contributor: Hope]

“Hell to Pay”

Original Airdate: May 9, 2016

The penultimate episode of season eight looked like it was going to be another goofy expedition into the depths of Castle’s imagination... and that it was. I would have loved this episode. It helped that, between the glitchy security cameras, creepy hidden lair, and odd coincidences, there was enough evidence for it to be believable that Castle could think the victim was killed by a demon. It didn’t have the character regression (fight me on this) of chasing after a genie simply because there was a lamp and a woman who happened to be good at disappearing quickly. The episode was wacky, exciting, and lacked character melodrama. It was a filler episode, but a good one.

Unfortunately, there was some very blatant foreshadowing thrown in, along with a notable lack of scenes with Beckett in them that cast a damper over the episode.

IT WAS A DARK AND STORMY NIGHT...

The foreshadowing was not only dark, but also pretty cruel. First and foremost was the apocalyptic theme and all this talk of the end of days. Secondly — and more painfully — was Castle realizing he wasn't marked for death, and Beckett telling him he wasn't going anywhere. WE KNOW THAT. Hands off the salt shaker, writers; the wound hurts enough.

Every time Castle claimed he was marked for death, I knew it was supposed to be funny... but it wasn’t. There’s another dimension to these panicked lines that wouldn’t exist if we didn’t already know better. If ABC hadn’t chosen to break the news ahead of time, this could have been foreshadowing that we might have overlooked as just an attempt to build hype and suspense. But now it’s uncalled for. You don’t really need to foreshadow something everyone knows is coming. It’s quite literally called "overkill."

THE TEAM, ONE LAST TIME

At the start of the season, I was really excited that Beckett had been promoted to captain. It seemed like great character growth, and it seemed like they were working around the fact that the captain doesn’t typically go out in the field. It was also one step closer to senator, without actually making Beckett leave the precinct and go into politics yet.

I say “yet” because the time traveler from season six, who claimed to be from the future (20 years in the future, if I remember right), said she would become a senator. He also said Castle and Beckett would have three kids, and that Castle would switch to writing literature. So many episodes, especially as of late, have had Castle believe in the supernatural, the mystical, and the science fictional. But the time traveler was the only instance — correct me if I’m wrong — where he was not proven wrong. So in my mind, Marlowe gave viewers a peek at the end of this long book; a peek at what, realistically, never would have made it on screen, because season 26 would have been a stretch (minus the possibility of a flash forward). And that, through this whole mess, is what I’m going to believe in. Somehow, through magic or whatever it takes, that is where they actually end up.

Anyway. Right now her being captain just looks like a plot device to keep her at the precinct and separated from the others. However, the gang was all there for the visit to the morgue (ewww), which was bittersweet since this was probably the last time that will happen. Next week likely won’t have a case of the week outside of LokSat. The core crime-solving five — Beckett, Castle, Esposito, Ryan, and Lanie — have a dynamic that I’ll miss. They all feed off each other’s senses of humor, and there’s an energy to scene where all of them are together that helps to make this show what it is.

Much of the rest of the episode involved Castle, Espo, Ryan, Alexis, and Hayley, which I’m guessing was a little peek at what’s to come. And you know what? If it wasn’t for the destruction of Caskett and, I don’t know, the show’s premise, I wouldn’t have an issue with these five working together. I love the characters. And I love that the P.I. office had a secret safe that opened to a secret tunnel, because secret tunnels will never get old.

There was a literal ton of creepiness in this episode, with the glowy eyes in the dark lair taking the cake. Castle decided he was marked for death and that Rick Cosnett’s character (Victor? Let’s just call him Eddie, since that was his name on The Flash), was the Antichrist, and that the escaped/murdered psychiatric patient was right that the apocalypse had arrived. Fine, Castle. I’ll allow it, because it led to Beckett playing tricks on him, and it was amazing. I’m not sure how she kept that sphere spinning around and around, but Castle approaching it with his cross made out of pencils as she snuck up on him was perfect. It was goofy and classic and all I’m really asking from this show. Forget the angst, just let these two play practical jokes forever.

The episode ended with them crashing Hayley and Alexis’ movie night by lurking in the shadows until the two got creeped out and left quickly. A cute ending, right? Not at all ominous. It would have been adorable... if the next instant hadn’t brought next week’s promo.

SOME THOUGHTS ABOUT INTEGRITY AND RESPECT

I want to talk a little about my thoughts on this show’s decisions. I know that next week I’ll have other things on my plate to write about.

I have a fortune from a fortune cookie that has been floating around in my wallet for a while now. It says, “Integrity is the essence of everything successful.” I’m not sure why I kept it in there, other than that I believe wholeheartedly that it’s right.

How does integrity apply to television? How do you know what it means for a show to keep its integrity? Some have argued — correctly — that by continuing on, the show is continuing to provide hundreds of people with jobs. And by wishing that next week’s episode was the series finale, I mean no disrespect to the cast and crew. I don’t want the show to kill off its female lead and disregard its premise. I don’t want Marlowe to watch the series he created go down this path. I don't want hundreds of people to lose their jobs. I don't want the fans to feel stabbed in the back. I don't want this series to self-destruct. I don’t want this show to end.

All of these problems stem from the same root, and that was the decision to not offer Katic a contract for the ninth season. That was the decision to put the male lead over the female lead. That was the decision that was made even though the powers that be had to have known the enormous backlash they would get. It’s an unfortunate position we’ve all been put in, and we’re all in the same boat here.

None of us — regardless of opinion — should be in this position in the first place. We shouldn't feel like we have to take sides. There shouldn't be sides to take.

As fans, we should recognize that everyone is feeling the symptoms of the same problem. That means we have no right to disrespect those who work on the show. I’ve seen the backlash, which is particularly strong against Toks Olagundoye. It’s destructive and abusive. She worked hard to get where she is, too. You don't have to like her, you don't even have to change your opinions; just be respectful. Ask yourself: would Stana and Tamala condone your actions, or would they be horrified at the words you're slinging in their name at their former colleague? Toks shouldn't have to apologize for wanting to keep a job she worked hard for, and she certainly shouldn’t be targeted for standing up for herself.

Then there’s the issue of responsibility. Writers have an unusual job — we have the power to play with the emotions of other human beings through our words and characters. It’s kind of strange when you think about it. If it weren’t for the fact that the audience wants to have their emotions played with, it would be called abuse. Most of the time, we ARE fine with letting television break our hearts and make us cry. The most powerful, touching shows do that.

However, there is a line that shouldn’t be crossed, a point where the twist hits too hard. At the start of any story, we’re promised an ending, and it was always pretty clear what Castle’s ending was supposed to be — after all, the premise isn’t “a writer who solves crime.” It’s “a writer and his muse who solve crime and fall in love” And somewhere in the premise, our minds assume there’s going to be a happy ending. It’s why many fans — myself included — have continued to watch. A story should be whole. It’s a question of quality versus quantity, and clearly, ABC is choosing quantity. But there is a moral obligation to the millions of viewers who are invested in this series and have been for years. They stuck around because of the characters and their dynamics. The stuck around because Castle is as serialized as it is. I’m sure there are viewers out there who tune in for the more episodic aspect of the show, and it’s true that episodic shows can garner more viewers than serialized ones. However, serialized shows will build the largest amount of loyal fans. I don’t understand why networks can’t understand this.

Castle has broken an unspoken but obvious promise to its fans, and if you wanted a happy ending, you’re now going to have to pretend that the season seven finale was the series finale, and that season eight was Castle’s evil twin or that everything was just a dream. Castle and ABC know that by killing off Kate Beckett, one of the best female characters TV has seen (fight me on this), one half of an eight-season-strong ship, and a large part of this show’s success, it will devastate, betray, and alienate its audience. If they don’t know this, then I’m not even sure what to say. They knew what they were getting into, they knew many fans would react this way, and in doing so, they betrayed not only Stana and Tamala, but also the hundreds of people working on the show. They have tainted Castle’s reputation beyond repair and guaranteed its demise.

There is no integrity in that.

It was the decision to continue on, whatever the real reasons were. The decision to say that, according to ABC’s promo for next week, “everything ends in tragedy, even an epic love story like [theirs].” It was the decision to take what fans cherished most about this show — their journey — and smash it into a million tiny pieces. Not Castle’s. THEIRS. It was their story, their evolution, their trials that attracted fans. It was the idea that two people can love each other, and eventually get the timing right, eventually knock down the walls that stand in their way. It was the idea that two very different people both found exactly what they never knew they needed in each other. It was the idea that they can make it through all that and in the end, make it to their happy ending.

Castle is the comedic heart of the show, but Beckett is its emotional heart, with her character growth being the most profound. And together, it was something that fans have invested years in. I’ve invested six years. And I never truly imagined the show would go this far off course. I believe deep down that Marlowe never would have done this, because I think he cherished his characters, too. This doesn’t undo the previous seasons for me, and I’ll always love Castle as I knew it. But I don’t think I’ve ever felt more betrayed by television or any work of fiction as I feel right now... and I know I’m not alone.

Notepad:

• The “it was a dark and stormy night” vibes were so cliché and exactly as they should be.
• The return of the gun-tosser!
• WHY would you stick your entire arm into a dark vent through which weird noises are coming? How does that make sense?
• “I need fifteen minutes and a chocolate milkshake.” I’m going to start requesting chocolate milkshakes for every task I do. Actually, I could use one right about now.
• “So do you think Castle is right—” “No, no, no, don’t add fuel to that fire.”
• “What is it all about?” “The end of days... which according to this is two days from now.” Actually... that said 5-10-16, so it was the next day. SORRY. 
• “Yeah, through a generator... fueled by the flames of hell.”
• “I’m marked for death.” Jon and Seamus’ expressions were perfect here. Just the right mixture of disgusted and a little bit of freaked-out belief on Seamus’ part. 
• Again, random objects falling to the sidewalk in front of them was so cliché, and yet I loved it.
• “Don’t take this the wrong way, but you’re starting to sound crazy. And not your usual crazy. Next level crazy.” Don’t leave us Beckett, you and Lanie are our links to sanity.
• All the crosses made out of pencils on Castle’s desk — golden.
• “Angel dagger, it’s something only a demon would want!” “Did they check for a concussion?”
• Oh thank God, Castle grabbed that security guard’s weapons. There is common sense left.
• The way Victor cried “Castle, save me!” was just sooo melodramatic, I cringed. 
• “I love your sense of humor.” It’s not humor, dude, he’s for real.
• Castle: “You know, you mock, but you’re gonna miss me when I’m gone.” Beckett: “You’re not going anywhere.” Castle: “How can you be so sure?” That’s cruel and unusual punishment, writers. That’s just low. 
• Did you just want to sit down and cry after that promo for next week? Yeah, me too.

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Castle 8x20 Review: “Much Ado About Murder” (Method to the Madness) [Contributor: Hope]

“Much Ado About Murder”

Original Airdate: May 2, 2016

This was another episode that I really enjoyed. The Caskett storyline was cute, the Ryan storyline was adorable, and the mystery roped Shakespeare into the whole crazy mess… and somehow, it just worked. Everything tied in together enough that storylines didn’t get lost in the mix, and it was just an entertaining hour.

If you forget that this was either the third last episode ever or the third last episode of Castle as we know it. If you can sweep that under the rug for 60 minutes, then you probably enjoyed it, too.

It helped that this episode lacked the heavy-handed foreshadowing present in last week’s episode. There were only two things that hinted at what’s to come, one being the term YOLO that was thrown around quite a lot, and secondly, that Castle might be writing a biographical movie about a crime lord? Um, so if Castle does come back for another season, does this mean that, since it would be too painful for him to write another Nikki Heat novel, he’ll be able to turn to this project instead? Thanks, show, for ending on that note. This is why we can’t have nice things.

But push that out of your mind! Imagine Kevin Ryan: Superdad twirling around with his little girl, and the priceless footage Javi took that’s going to come back to haunt Ryan someday (not that he’d truly mind, though).

THE CASE

First, I have to express my gratefulness that, given the Castle Goes Off the Deep End trend, he didn’t believe the killer was a ghost or visited by a ghost… or anything to do with ghosts. It looks like the penultimate episode is going to be another one of those where his imagination runs wild, and the only consolation is that we at least got this really good one. All I’m saying is the next episode had better have more weight to it than that. I can kind of understand – or at least accept – having a filler episode as your penultimate for the season when you know the show is certainly going to be renewed. What I don’t get is taking what could possibly be your second-to-last episode ever and goofing off with it. It’s presumptuous, disrespectful, and just plain stupid from a storytelling standpoint.

Anyway. The case involved the death of a (terrible) movie actor who was trying to successfully transition into acting on stage as Hamlet. It didn’t go so well, seeing as he ended up with a quill pen to the neck. The investigation led from an extremely method Ophelia, to an ex-con stepbrother, to a Mexican crime lord, and also to Martha, who got a little extra screen time than usual (Alexis and Hayley were completely absent, probably running that P.I. business Castle neglects).

You know, at this point in the game, I should remember by the end that the first people our characters talk to are often the killers, but no. After we’ve been tugged around to at least half a dozen different acquaintances and suspects, I’ve forgotten them. That’s probably the purpose of having so many twists and turns to the investigations: making the case more and more convoluted makes it harder to see the (relatively) simple answer.

RICHARD CASTLE: SCREENWRITER

So let’s talk about what happened here, because this is kind of crazy – and yet from the moment El Oso asked/forced Castle to write his movie, I had a feeling this wouldn’t be the last we’d hear of it. When you think about it, it does make sense. Castle, in the hypothetical season 9, would need to have something to write if he is going to continue to be a writer and not just a private investigator. With his muse/love of his life/inspiration for his main character… out of the picture… he might fall into an endless abyss of writer’s block. But he’d have El Oso’s write-this-or-else movie deal hanging over his head.

However, if Castle and Beckett ride off into the sunset… well, he can write anywhere. And this storyline really wouldn’t matter anyway because the show would be over. At that point, if we get a happy ending, I’ll forgive this show for any loose ends, especially this one. I just want that happy ending. I know I sound like a broken record at this point, but I want this show to give all us viewers the happy ending we’ve earned after all these years. I know television is a business, and businesses and money go hand in hand, but businesses also need to (or should) have integrity. 

RYAN AND HIS LITTLE SUNFLOWER

In case you needed proof that Kevin Ryan in an excellent father, we now have multiple scenes of him choreographing his daughter’s flower-themed preschool performance. How adorable was this? In the middle of the sidewalk, in an empty interrogation room, in the middle of the precinct… he didn’t care who saw him. He wanted to be so involved in his daughter’s school, and it was touching. He ended up overestimating preschoolers’ dancing abilities, to the point that the rest of the parents banded together to make him step away from the play.

Esposito also joined in the dancing at the end, which was a nice touch. I’m so happy that, at least through this episode, whatever drama these two have had this season is gone. That would be the last (well, not the last…) thing this show needs right now. Sarah Grace called him Uncle Javi, and I just feel like we’re missing out on so much potential for Ryan and Esposito’s storylines. We all know they’re close, so why not show us more of that? Don’t just tease us with this. They have personal lives, too, and yet the only characters we get to see at home are Castle and Beckett. However, it’s a little late for that now, being the twentieth episode of the season and all.

I keep noticing (correctly or incorrectly) how certain things seem to be clues to how the series could end or continue, but for some reason, Ryan’s family being in the episode didn’t give me that feeling. I wish it did, and I truly hope that the El Oso storyline simply overshadowed this possibility in my mind. I bet the fans would love to see more of Ryan and Espo, especially if they stick around for the possible ninth season. Their bromance could come to the fore, and they could also help Castle survive without Beckett (and I mean that in both senses of the name “Castle”). From what I’ve read, it looks like the show would probably go the P.I. route, but I would much rather we stay focused on the 12th Precinct. Not because I don’t like Hayley or Alexis, but because I want this show to maintain at least a little bit of its original self, and it isn’t complete without Ryan, Esposito, and the NYPD.

Notepad:

• “I haven’t seen you this excited since… well, um, earlier this morning, so...” 
• “[YOLO is] a way of life.” “No, it’s a way to be obnoxious.” In which Beckett is me.
• “Our weekly date night, it’s our thing.” These two.
• A period dinner with the Founding Fathers as waiters? Where can I sign up?
• The little peek into Castle’s backstage childhood was nice.
• “We have queries and you shall answer–” “We are so not doing this.”
• “And I want a baby unicorn with a rainbow tail… for my daughter.” Ryan, you’re a gem. 
• I just want a Ryan/Espo spinoff, someone make this happen, I will even write it for you, just fund it, please and thank you. 
• Castle was parked in by El Oso’s henchmen, but it doesn’t matter who they are – people who park so close you can’t open your door are THE WORST.
• “Then you should just typie, typie, typie.” If only writing was that easy, dude.
• “This is his life.” “YOLO!” “That’s cold, Beckett.”
• “No, I’m just the funny kind of court jester!” 
• “Are you saying you planned my abduction?”
• “He doesn’t want to kill me!” “Until he reads the first draft.” “Well, then there’s that.”
• Not only did Jenny appear in this episode, but we also got to see little Sarah Grace and Nicholas Javier. And Uncle Javi dancing along with Sarah. Seriously. This group of characters and a spinoff comedy. Who’s up for it? Ryan and Espo could figure out how to solve crimes without Beckett and Castle, channeling their sharp reasoning and creative thinking (respectively). It could be the buddy cop comedy the world has been waiting for.

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Castle 8x19 Review: “Dead Again” (Lurking in the Shadows) [Contributor: Hope]

“Dead Again”

Original Airdate: April 25, 2016

Well, folks. We’ve all had a week to cool off from THAT news, and now we’ve returned calm, collected, ready to — yup, nope. Sorry. I will be sticking with this series until at least the end of the season because if we do get the final, final scene instead of the cliffhanger, I need to see that. I’m also not going to turn my back on the rest of the cast, and I’m certainly not going to throw away the rest of Stana and Tamala’s hard work. This whole review could be another edition of Hope Rants for a Thousand Words, but it’s not going to be.

I will say, however, that it’s incredibly hard to watch this show after knowing what I know now. Every funny scene, every sweet scene, everything I would have loved has a dark cloud hanging over it, and I can’t shake that feeling of impending doom. Everything good makes me think of everything this show is throwing away. I can't believe the broad range of attitudes I've had toward this season so far. I loved the premiere, then it went downhill, then it looked bright again, and now it would be good if it weren’t for the series finale/end of the show as we know it looming ahead.

You guys might be familiar with the song “Riptide” by Vance Joy. In it is a notable line that I interpret in a way that could apply here: “I love you when you’re singing that song, and I’ve got a lump in my throat because you’re gonna sing the words wrong.” It’s not just that I’m nervous Castle is going to mess things up — I already know what it’s doing, and yet I’m sitting here, watching it anyway. Is it slightly torturous? Well, yes. Yes it is.

And still, I’m glad I’m watching. This was a great episode. It might have been one of my favorites of the season, if not for the large amount of foreshadowing that I can't help but interpret a certain way. It was funny, the case was intriguing, and the personal storylines were balanced enough to take up half of the drama. Ryan and Esposito didn’t have much to do, Alexis, Martha, and Hayley weren’t in the episode at all, but Lanie got more screentime than she has had all season. The would-be murder victim, who was almost killed three times, was just endearing enough to make it plausible that Castle could convince him he was a superhero. But someone, please — let Castle mature a little.

First it was genies, now it’s telepathy, superpowers, telekinesis, and invincibility? And not just a belief in those things — which is plausible enough because it’s Castle we’re talking about — but actively pursuing the suspected “superhero” and throwing things at him to see if it hurts? Maybe if Beckett wasn’t regulated to her desk and captain duties so much, she might have been around to be the ever-present, ever-needed voice of reason.

SOMETHING MORE

Castle starts off the episode on an odd, slightly unprecedented tone. I’m not sure I would call it out-of-character, or shoehorned into the episode, but it certainly is serving a purpose. What is that purpose? That seems to rest in the hands of ABC at the moment. But it’s clearly opening up a pathway for either Castle and Beckett to leave the crime-solving life for a normal one... or for them to regret not leaving it all behind.

Castle suggested that they go to Paris, to which Beckett argued that she had just gotten her job as captain. He, in turn, argued that being a captain was just the start, and there was so much potential for her career outside of all that crazy, high-stakes, occasionally off-the-reservation crime solving (see: LokSat). And then, he said, they could lead a “normal life.” But of course, they have their jobs and there’s Alexis to think about. This also got a laugh out of Beckett, who joked that he could never be normal. A week ago I would have seen that as a sweet throwaway line (and a true one at that), but now, it feels like foreshadowing. As if this “normal life” isn’t in their future. Specifically, his.

To make this theme a little more heavy-handed, the murder victim who wouldn’t die was just an ordinary man... who Castle decided must want more out of life. He channeled all of his feelings about being “happy with his life” and “getting out there” into his little mentee. He then regretted this because it (almost) gets the poor guy killed for the third time. Both the second and third time, Castle feels guilty for the “murder” — especially the last time, when Castle realizes he pushed the victim into being a hero instead of just keeping him safe.

It’s arguable that Castle would feel the same guilt if anything happened to Kate. He told her what he had found out about LokSat. He agreed to work with her. He couldn’t stop her if he tried, but he’s helping her, encouraging her, and not standing in her way. Should he have just kept her safe? Will he live to regret this? Or will they make a change to their lives before it’s too late?

THE OMINOUS RETURN OF LOKSAT

Speaking of heavy-handed foreshadowing that is probably only heavy-handed because of what we now know: Vikram found out Caleb’s alter-ego and tracked him to Los Angeles, where he was seen talking with that dude from the season premiere who put a bag of fluffy spiders over Castle’s head (the fluffy spider bag that was then thrown onto the floor to let loose the fluffy spiders to take over New York City and then the world. If a herd of giant fluffy spiders running around doesn’t make your skin crawl, then you’re made of tougher stuff than I’ll ever be).

Anyway. Vikram wanted to go full steam ahead into tracking down LokSat, but Beckett got him to slow down. However, not before he tripped a digital wire that alerted Caleb, who confronted and threatened Kate. She, in turn, forced Caleb to think about the kind of person he used to be and the person he is now. She tried to turn him to their side, which almost seemed fruitless, until the last scene of the episode, where Caskett arrived home to find Caleb sitting in the middle of the darkened loft.

He did something pretty surprising: he gave them the phone he had been given by LokSat (whose identity is even a mystery to him) and, in doing so, is giving Beckett the chance to trace its next call. This is not going to end well for Caleb, you just know it. And unfortunately, everything about this storyline is building up toward whatever the season/series finale has in store.

I’m thinking that LokSat, after all this build-up, has got to be someone who is already present on the show, or it will lose some of its impact. Sure, it could be some politician or crime lord, but what if it was Vikram? He’s overeager to the point of being reckless, and I get that this dude is inexperienced with crime-solving, but he’s also frightened by all this. Fear, you would think, would act to hold him back a bit.

However this LokSat case unfolds, the drama would be much more enjoyable if we didn’t know it can only end in one of two ways — Castle and Beckett starting a new chapter of their lives, or tragedy.

Notepad:

• “What are you doing?” “Watching you sleep. Is that creepy?” “I think it’s sweet.” “I took some pictures.” “Less sweet.” “They’re part of a series. Usually you don’t wake up.” “And now it’s creepy.”
• “I think it’s time we shake things up. Move to Paris. You know, search for buried treasure in Nepal. We could fly a hot air balloon across the Sahara.”
• “But what if we didn’t?” Anyone else sensing a call-back to the line from 3x22, “you don’t want to look back on your life and wonder, ‘if only’”? 
• “You’re on a rocket, sky’s the limit. And then you know what’s going to happen? We’re going to become normal.” “No, Castle, you’re never going to be normal.”
• “Um, Lanie.” “Don’t ‘um, Lanie,’ that man was dead!”
• “They start out as mild-mannered weaklings, and that’s you!” “Wow, thanks.”
• “Sidekick? Please, I’m the mentor.”
• “Let’s hope you don’t flash back to this moment, when you had the chance to live and you chose not to.” Well, crap, the foreshadowing of this scene was just unnerving. 
• “Oh my gosh, is that what we sound like?” “I surely hope not. I mean, it’s cute but just… overly cute.” I love how these two finish each other’s sentences. I just love these two in general. Please, Castle, don’t break my heart.
• The WRITER vest returns!
• “Maybe it is time for a change.” “So long as I’m with you, I’ll go anywhere.” GO TO PARIS, DO IT NOW. 
• “Remember who I chose to be today, because nobody else will.” 
• “And when the time comes, we’re gonna make it count.”
• So, next week involves a production of Hamlet, the second reference to Hamlet in the span of three episodes. Anyone else sensing foreshadowing to a whole lot of tragedy? Or is that just me? 

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Castle 8x18 Review: “Backstabber” (You Said Forever and Always) [Contributor: Hope]

“Backstabber”

Original Airdate: April 18, 2016

Appropriate title for this one, don’t you think? Anyone else feeling betrayed right about now? And not one of those dream betrayals, either. This week’s episode was a really good one, but unfortunately, it was overshadowed by terrible, heartbreaking news. I’ll address that in a moment, but let’s talk about the episode first.

THE CASE

This week centered around Hayley, who was roped into a secret mission that ended up being an attempt to frame her. But it went deeper than that, with her old partner setting her up in order to test her before setting their “retirement plan” into motion. Except she didn’t want to be on the run. She finally had friends. She had people who cared about her and people who weren’t about to frame her for knocking out all the lights in London.

The case had plenty of twists and turns, and while we didn’t see all that much of Beckett, Ryan, or Esposito, we got to know Hayley a little better. I’ve said from the start of the season that I liked her character and wanted her to become part of the show. The dynamic she adds to the team works so well, her bond with Alexis is amazing, and a show can’t have too many awesome crime-fighting women.

She ended up having to shoot her old partner, and the pain in her expression was heart-wrenching. Toks Olagundoye did an amazing job in this episode. She has stepped into her role and meshed with the dynamics of an established show wonderfully.

I want to put this out there: I understand that Toks is getting her share of hate over this turn of events, and that’s just sad. It’s not right. If you want to blame someone, blame ABC. Blame the showrunners. Don’t blame another actor. She did a wonderful job in this episode, as she has in all of her past ones. She’s not taking Beckett’s place, because that’s something no character can do. Thinking she is takes away from the value of her character in her own right and assumes that women have to be competition for each other. Let me repeat: A show cannot have too many awesome crime-fighting women. I can feel betrayed and saddened that Stana is leaving, but that doesn’t mean I can’t appreciate the work Toks is doing. The two things are not mutually exclusive.

BACK UP, DID YOU FORGET EVERYTHING?

The Caskett Cute Storyline of the Episode™ involved a dream Beckett had about Castle betraying her... but we never found out what that dream was about, other than that she didn’t want to relive it. Is this foreshadowing? Will this never come up again? Does anyone even know what this dream was about or did they forget to think up something?

Meanwhile, Castle was keeping something from her — that he had taken her old motorcycle from her dad’s garage and had it fixed up. He also bought himself a motorcycle so they could both go on her dream ride across the country together.

First of all: crossing the country on a motorcycle? Is it just me or does that sound kind of unsafe? Maybe that's just me. Secondly: could this come back into play at the end of the season? Could they literally ride off into the sunset? Could something happen between them and Beckett rides off alone? Could there be an accident? Everything in this show now makes me think about how it relates to that dreaded End of the Season and it’s getting old really quickly. I want to enjoy these episodes and laugh because I know this show will either end or become something completely different. I’ll laugh at something like I normally would... and then fall silent because it doesn’t feel right to laugh.

SO HERE’S TO EVERYTHING COMING DOWN TO NOTHING

I have a lot of say on this matter. Kate Beckett is one of my favorite female characters of all time. She’s strong and smart. Loyal and driven. She’s flawed and she has trouble letting people in. And when she lets people in, they become the world to her, and she completely becomes her happy, sometimes dorky self. She has grown and evolved over the course of the series, and it has been wonderful to watch. She’s inspiring. And — fight me on this — her story has been more compelling than Castle’s. Castle’s hilarious and endearing, and he’s had his own journey as well, but Beckett has come further.

I DON’T want either of them to die, but compare these two storylines: Castle dies, Beckett has to overcome losing another very, very important person, but she does because she’s stronger for having loved. She and Alexis become very close. She becomes the best captain New York City has ever seen. She solves crimes using Castle’s signature point of view, and in that way, he’s always with her and the series. Scenario two: Beckett dies, and Castle is heartbroken. He continues solving mysteries (P.I. or police ones) until this thing gets canceled, the end.

Huh. Creatively, if you’re killing off a co-lead in order to “save money,” and want to make the choice that’s most conducive to storytelling, which one would you pick? Again: I desperately don’t want either of these two to be killed off. And yes, the name of the series IS Castle. Both characters are indispensable, but are red flags popping up for no one else at this choice?

For the record, if there is a Castle season nine, I probably will not be watching. I know that a lot of you probably feel the same, but I also know that there would be some who would stick with the show, and you know what? That’s fine. I won’t judge you. I respect your choice. Just know that I, in turn, don’t take this decision to quit the show after season 8 lightly. I have been watching this show since... well, a long time. I have been watching this show longer than I’ve been able to drive a motor vehicle. This show has spanned an era of my life, and it breaks my heart that it’s come to the point that I’ll walk away from it. I rarely quit shows, and when I do, it’s usually because I don’t care enough about the characters.

The problem is that I care too much about these characters. Remember that scene in “Always” when a Castle walks away? He tells Kate he loves her, and that if him saying that means anything to her, she’ll walk away from her mother’s case. Continuing on was just a suicide mission. He knew he couldn’t stop her, and he loved her too much to continue on with her. “You’re right,” he said, “It’s your life, throw it away if you want, but I’m not going to stick around and watch. So this is over. I’m done.”

The way I see it, there is only one way Stana can leave the show without having Castle and Beckett break up again. Sure, they could have Beckett run for office (or go on the world’s longest motorcycle trip) and be out of town all the time, but that’s a stretch. And breaking them up again is just over-the-top, forced, and out of character. The only way for her to leave is to kill her off. If Fillion didn’t come back either, they could have Alexis solve crime as a P.I., and just let Caskett live happily ever after. I might watch that show. But if they kill Kate off, the show is essentially guaranteeing its own demise. It will be a greedy shell of what it used to be, and I’m not going to stick around and watch one of my favorite shows of all time self-destruct.

No baby for Castle and Beckett. All that wasted time with the break-up, when they could have been happy. No Lanie and Esposito, because Tamala Jones also got let go from the show, which is a crime. She was barely even in this season, and her humor and personality added so much to the show (and she’s been taking it all very gracefully in stride on social media, bless her). I’m upset enough that she’s leaving, and I’m sorry that I’ve been focusing on one departure more than the other. I’m angry about these so called budget-cuts that led to both of them leaving. Of course, when you look at your budget and you realize you’re spending too much, you decide “well, why not kill off our co-lead? And while we’re at it, let’s kill off one of two female characters left who’s not related to Castle.” Not to mention this is so soon after the terrible turn of events on Sleepy Hollow.

One of the worst parts? They didn’t tell the rest of the cast. At least not Jon Huertas or Seamus Dever. They found out on Twitter like the rest of us. After eight years. They finished filming on April 13, which as far as I can tell, was before they told Stana and Tamala they were off the show. So they never got to have their last day on set, even? How disrespectful is this show going to get? I don't pretend to understand what exactly is going on behind the scenes, but from the outside, Castle is coming off as shady and suspicious, without doing anything to try and change our impressions. I almost wish I didn’t know ahead of time, like with Sleepy Hollow, because the rest of the season is just going to be painful. If the show gets canceled, we get the happy ending. If it doesn’t, we get the ending where Caskett is torn apart. It’s a catch-22.

There is no Castle without Beckett. This isn’t right. I’m so disappointed in this show. It pains me to say this, but I hope ABC cancels it, and gives us at least a fraction of the ending the characters and audience deserve.

Notepad (Short, Somber Edition):

• These three. I can’t even. They’re so adorable and I don’t want them to be torn apart. 
• Taylor Swift’s piano version of “Forever and Always” is so fitting for this turn of events. 
• I feel the pain of slow moving computer progress bars.
• “You betrayed me... last night, in my dreams.” 
• “Bro, you cannot solve a homicide without us.” TRUTH.
• “Esposito, we have Hayley. What do we need Castle for?”
• “I mean, it might not be all that bad. Hamlet was written in the sixteenth century… Okay, I’m not helping.”
• The secret room in the P.I. office is technically a panic room? I thought of it as more of a secret lair. 
• “You don’t have to do anything alone ever again.”
• “I should have known better than to try and surprise the world’s greatest detective other than Batman.”

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Castle 8x17 Review: “Death Wish” (Overactive Imaginations) [Contributor: Hope]

“Death Wish”

Original Airdate: April 11, 2016

This week probably had the wackiest synopsis of the whole season, and that is why I was so excited for this episode. Just a good, fun hunt for Aladdin’s lamp and tons of comedy... and a little personal drama at the end. I can’t tell you how relieved I was that this was such a light episode. It gives me hope. I think this show strangles itself when it tries to add too much drama. I’m not saying that I want episodes to be stand-alone — actually, I really, really don't want that.

But what I want to see in my screen each week are the characters growing and crime solving and being goofy together. Between declining ratings and close calls with contracts, the last couple of seasons have left this show on the bubble, and I don’t want to take it for granted. I don't want the writers to take it for granted, either. Until we know the status of next season, I want to appreciate the characters, their dynamics, and their journeys. I want to get wrapped up in the mystery of the week, I want this show to be an emotional roller coaster without jeopardizing relationships we know are stronger than that. I want these episodes to be enjoyable, and I want them to remind me why I started watching back at the start of season 3.

I recognized season three in this episode, I’m glad to say. I loved it. I know that others might be disappointed that there wasn't more serialization in this episode, and I get that. Esposito’s storyline from last week wasn’t mentioned. The name LokSat never even came up. However, I’m choosing not to care because I’m OVER LokSat (hasn't the show distanced itself from this a bit? Is it just me, or does this hint at a giant blow-up on the horizon?), I’m used to this show alternating between being serialized or episodic, and because I just want to enjoy the show. This episode made enjoying it easy.

CRAZY EVIL GENIES AND HEART EYES

Castle was at his most immature in this episode, and decided to believe wholeheartedly in the existence of genies. It wasn’t surprising, but I did have to suspend my belief just a bit. I don't know why, exactly, since Castle is an eternal child and has taken a whole array of things seriously in the past. Calling someone a genie to their face, though, and locking Beckett out of the interrogation room in order to do so, was a bit much.

What I really loved about this genie obsession, however, was Beckett’s reaction. She quickly realized the direction her husband’s hypothesizing was going in, and her quiet “oh please, no” was perfect on Stana’s part. As was the quick moment of eye contact with the camera. You don't see that very often, and it’s like we were part of a little joke. Overall, I loved how Stana Katic decided to play this episode. Beckett just watches Castle, amused but not exasperated. Even though she begs him not to keep saying there was a genie, and he does it anyway, she watches him with what I can only describe as heart eyes. She doesn’t love him in spite of his silliness. She loves him because of it. That’s true love, folks.

Castle spent the majority of the episode talking about genies, convincing people he was crazy by talking about genies, and... being followed by a genie? The P.I. Office made a cameo in this episode, where Alexis was equally patient about his obsession. The case itself was interesting, but overshadowed by the comedy. There was a street chase, an abandoned warehouse (it’s hard to go a procedural episode without seeing one of those), and a shootout. Someone, give Castle a gun. It’s insane that he’s out there breaking into buildings and hunting down ancient artifact smugglers without a weapon. And even if he technically wasn’t supposed to be breaking into places, you know he’s going to anyway and might as well assume it’s a given that he needs to defend himself.

NICHOLAS JAVIER RYAN

Jenny went into labor right at the climax of this episode, which was exciting but also just made me wish they would wrap up the mystery sooner. After a medical scare, and a long wait for Beckett, Castle, Lanie, and Espo, Ryan came out and announced he had a son. Who, of course, he named after his best friend. I’m so glad that Ryan got a little bit of a storyline in this episode, and I’m actually a little surprised that this didn’t happen closer to or on the season finale. It’s also disappointing that his storyline hasn’t played a bigger part in this season. I’m willing to bet that if the breakup storyline hadn’t happened, it would have.

Beckett was willing to suspend her disbelief and in a moment of worry, asked Castle to use one of his two remaining wishes on Jenny. You know, on the off chance this whole wish thing was real. He said he already had used both of them on Jenny and the baby. Then followed a really sweet moment between these two (quoted at the end of this review), that included Castle saying he had nothing to wish for. The whole of the episode he was childish and distracted, but when it counts, he’s as serious and grounded as it gets.

It’s just... I don’t want to read into this, but maybe there could be something these two could wish for? Maybe a baby who could grow up with little Sarah and Nicholas Ryan? I’m just putting that out there.

Notepad:

• “Oprah, I need Oprah!” “Do you even know Oprah?” Martha’s appearance in this episode was short and sweet.
• It’s a crime that because of the LokSat storyline, we haven't gotten to see Castle and Beckett solving crime in her captain’s office until now. 
• Buyer’s remorse about being captain? “You get exactly what you wished for, when it turns out it wasn’t what you wanted at all.” “No, I love being Captain… sometimes it just feels like being a kindergarten teacher.”
• “Oh please, no.” “It’s a genie!” “And there we go.” 
• I always forget to mention it, but the score is so good on this show. 
• “You just want to find more out about genies and wishes.” “Well, yeah.”
• “What's your excuse?” *heart eyes*
• “That crazy evil genie is after me, man!” “Okay, let’s get you off the crazy train.”
• “Guys, if you find that lamp and Castle isn’t there I’m never going to hear the end of it. And can you make sure Castle gets the first rub in?” *Ryan and Esposito walk away* “Can’t believe I said that.”
• “I’m checking if they're magic.” And then he smacked Espo upside the head like he was the silly one.
• I need a gif of Castle falling through that window onto the pile of carpets.
• “So you’re nobody doing nothing.” “Pleased to meet you.”
• “And before you answer remember that I spent six months making an extra lunch for your imaginary friend.”
• “… your reality-challenged husband.” “I prefer fantasy augmented.”
• “So after eight years, some of my common sense has finally rubbed off on you?” “No, no, nothing like that. I have no need for genies because I already have everything I could ever wish for.”
• “[Would you wish for a] time machine?” “Only to go back in time and fall in love you all over again.” “Wow, that was a good answer.” “I know, right?!” These two are lovely and adorable.

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Castle Review 8x16 Review: “Heartbreaker” (Where We Left Off) [Contributor: Hope]

“Heartbreaker”

Original Airdate: April 4, 2015

It was Esposito’s turn to have a character-centric episode, and this one didn’t disappoint, even if it gave us a literal ton of backstory that felt like a bit much at times. He and Ryan’s dynamics shone, and Castle and Beckett had a lighthearted episode with zero angst and zero LokSat news. Nothing really happened to move the storylines forward, seeing as the Espo/Sonia storyline was nonexistent prior to this episode, and Lanie remained out of the picture, but who needs plot movement when you have jealous computers as your B-plot?

NEW OLD LOVES

We learned this week that about ten years ago, Esposito was engaged to a Sonia, a woman he later had to arrest and who has been in jail ever since. She ended up being the only person who could help them find the suspect, so they got her out of jail for the day.

However, even though Espo claimed that he didn’t have any feelings for her (over and over again), he obviously was still very much affected by her walking back into his life, as if he had arrested her yesterday. Instead of taking her right back to the prison at the end of the day, he brought her by his family’s house for a home-cooked meal and a shower, the latter of which was a huge, gigantic mistake because she had been playing them all and escaped out a window. It turns out she had staged the murder in order to escape so she could steal her gold coins back from her ailing father. There is nothing right about that sentence. Then she and her partner in crime, a guy who went by the name Hammerhead, kidnapped Esposito.

Yet, when Hammerhead decided to kill him, Sonia wouldn’t let him because she said she still loved Espo. And when she realized she was caught and would go back to jail for even longer than planned, Espo told her she could do it since he had been “strong enough to walk up those steps and arrest the love of [his] life.” They then parted on amiable terms, with him promising to visit her this time around.

First of all: WHOA. Not only was he engaged before, but she was and presumably still is the love of his life? This is a huge side of his character that hasn’t been part of the picture for almost eight whole seasons. Maybe the other characters were just as in the dark about it as the audience, but this was a little intense (however, major credit to Jon Huertas in that scene for such a heartbreaking, tearful expression.) He never even told his family that she had gone to jail – instead, he said he had been in the wrong and they had simply broken up. He almost gave up being a cop to make a run for it with her, until he realized he didn’t deserve her if he gave up his dream.

Secondly: What does this mean for him and Lanie? I’ve always been rooting for those two, but I don’t think it was until this episode that I realized how much I had taken it as a given that they would eventually end up together. Now… I’m not so sure, because while this episode could have set something into motion, it showed no sign of planning to do so. We could trace his reservations about his relationship with Lanie to his failed engagement. It’s true that neither of them were ready to be engaged, or to even be together anymore, but I did think they loved each other. When she had a boyfriend for all of two minutes, Espo didn’t think twice before meddling where he didn’t belong, and as I said then, I don’t think it was just a prank. I think he cared, and I think he was a little jealous and protective. Now that Espo already has a “love of his life,” in the picture, I’m terribly confused. Are we supposed to think that he was secretly still hung up on Sonia and that’s why he and Lanie aren’t together?

There were some similarities between Lanie and Sonia, and that is the only hint I can find, seeing as Lanie was barely in the episode. They both are stubborn and strongly opinioned, but unlike Sonia, Lanie does have a good heart. It’s not hidden, it’s right there for anyone to see – and certainly Espo must have seen that. Maybe he will realize it in an upcoming episode, because the end of this one simply had him and Ryan walking off to spend the rest of the day together.

At the very least, Espo’s best friend was completely supportive and had his back every step of the way. The moment Ryan realized Espo had gone off on his own, he sprang into action and shouted at the entire room of detectives to start figuring out where his partner had gone. Whatever spat they had in the fall, that is gone and these two remain a constant.

 

PICKING UP WHERE WE LEFT OFF

This episode opened with our favorite adorable dorks having breakfast, complete with balloons and French-toast-and-sausage kabobs. The occasion? Kate had moved everything back into the apartment. Not that I think it’s possible that she had removed ALL of her belongings to begin with. I can’t really believe she would have lugged that gigantic statue (see above gif) off with her to wherever she was staying (… her secret crime-fighting lair?) when it’s about four feet tall and probably pretty cumbersome to transport.

During breakfast, Castle/the writers (you decide) made this observation:

“We can simply pick up exactly where we left off.”

Can they? They can. The breakup didn’t impact their relationship in the long run at all, to the point that things are completely normal. I’m just going to put this out there: if you write a storyline and by the end of it nothing has changed for your characters, then said storyline was extraneous and didn’t contribute anything to the story as a whole. I can’t tell you how many times I’ve heard that every scene in a novel/script/short story HAS to be necessary and move the storyline forward. Those that don’t are the scenes you’re told to cut. They’re often nice little scenes, to be honest, but I believe it was Faulkner who said you have to “kill your darlings.” Was this storyline a darling? God, I hope not. Either way, it was an entire arc that spanned a good portion of the season and not just a scene.

Anyway. Not much happened with these two, and everything that did happen was sweet and funny. The case came up and Castle went to go find the guys while Beckett went off to a meeting. Castle rode with Ryan and hacked Sonia’s ankle bracelet microphone so they could spy on Espo. Castle and Beckett had a welcome home gathering with Martha and Alexis, which was really sweet. I would love to see more of these three women interacting.

Beckett and Lucy clashed, and when the only drama directly involving Beckett is between her and an artificial intelligence device, you know that either we needed this break, or something else big is waiting in the wings. Probably both. This plot was cute and hilarious and a nice little bit to keep going back to. Lucy would cue untimely music, turn out the lights, and tell Beckett to go get her own coffee. That is, until Beckett reprogrammed her into “Linus,” who I hope will give Castle some problems in an upcoming episode.

I’m glad Castle pressed pause on some things and let a supporting character take the spotlight for a bit, while giving Caskett the chance to settle back into a happy state. This episode didn’t lead to what I thought it would Lanie/Espo-wise, but at least it was unpredictable in that sense. Altogether it made for an entertaining hour with plenty of drama in all the right ways.

Notepad:

• “You, me, and a crime scene: just as nature intended.” I feel like this should be a tagline for the show, especially Season 8, Part Two: The Better Half. 
• A quick Google search reveals that French toast and sausage kabobs are a real thing. How have I gone this long without knowing such a thing existed? And where can I get one?
• “Now do a solid and don’t mess things up with her again.” What was the story Lanie had been told about the breakup? 
• “I’m telling you we need a dog!” Truer words were never spoken. 
• “Kevin, I fixed you your own plate.” “Thanks Mami.” Ryan with the Esposito family was adorable. I wish we could just have an episode where there wasn’t a case and the characters could just have dinner and be adorable. 
• Caesar from Gilmore Girls is Esposito’s brother, and that makes me very happy. 
• *Horror movie music* Beckett: “Lucy, what the hell, turn it off.” Lucy: “Language, Kate.” Beckett: *puts Lucy in the fridge* Alexis: “… She certainly can’t be jealous.” *lights go out* Beckett: “You were saying?”
• “I’m not going to pretend I haven’t done the same thing. But I’m captain now, so I have to suspend you for a week, no pay.” “Yes, ma’am.” “[pause] You did the right thing.”
• “Hey Linus, let’s get this bromance started.” Or not. Fillion’s delivery of “Beckett…? BECKETT!” was a funny little note to end the episode on.

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Castle 8x15 Review: “Fidelis Ad Mortem” (Faithful Unto Death) [Contributor: Hope]

“Fidelis Ad Mortem”

Original Airdate: March 21, 2016

This week forced Beckett to think about her past at the same time she and Castle faced the aftermath of his trip to Los Angeles. While the previous episode didn’t even include Beckett, Castle sat on the back burner for the larger part of the hour.

Castle, however, did have a difficult decision to make — whether or not he should tell Beckett about what he had learned in L.A. It was a question of what it meant to be truly faithful to his wife. On one hand, he wants to protect her at all costs — at the cost of never knowing what happened, at the cost of never catching LokSat, at the cost of possibly falling out again. On the other hand, he needs to show that he trusts her to take care of herself, and that if things get so bad that she can’t take care of herself, then together, they can overcome anything. It didn’t come down to either saving her life or being honest, because you know she isn’t going to give up the case just because he says she’s in danger. She would continue on either way, and he’d rather not let her do it alone. To be faithful to her means choosing to be truthful rather than safe. But it’s a scary choice for him to make.

The light scene in the beginning where Castle evades talking about his trip by procrastinating with food, combined with Martha’s arrival, brought some brightness to an otherwise dark episode (content-wise, but also visually; it didn’t help that the police academy was all dark blues and greys). The darkness that was present, however, wasn’t a bad, angst-y darkness. It was a thoughtful, meaningful one. It felt so connected to the rest of the series, and it was a nice way to make the storyline come across as more organic. It also kept this half of the season on the right track by revisiting character growth that affected their choices at the end of the episode.

REFLECTIONS

The case of the week revolved around the murder of a recruit from the police academy, and they soon learned that the only people with access to the murder weapon were the officer-in-training’s classmates. Each and every one of had the techniques of crime-solving fresh in their minds, which set the team up for a hard case. It’s strange that this concept hasn’t come up before, because it’s actually a really good obstacle to play against the team. In the end they realized the real killer was the man in charge of the academy, but not before Beckett’s old instructor was shortly cast into suspicion. Then followed a cool action scene where Beckett turned on the cutouts in the gun range to distract the guy.

However, it wasn’t just that the team had to get creative and make up training exercises to double as tools to figure out who did it. They also had to be careful, because while they thought one of them was the killer, the other trainees had their careers on the line as well, and being suspected of killing one of their own could have followed them forever. They had also lost a teammate, and Beckett tried to get them to reflect on how they really felt... to little avail. “Is that a P.R. statement for the Post?” They were all so unwilling to express an emotion outside of solemn respect and an urge to hunt down the killer. She wanted them to feel. She wanted them to acknowledge that they would have to feel in order to exist as cops, because there is only so much you can hide under a stoic face until you reach your breaking point.

Beckett focused her attention on a recruit named Decker, who was driven, angry, and skilled: the new generation’s Kate Beckett. Beckett saw a lot of herself in this trainee — that woman who would have irreparably crossed the line to get justice, who needed someone to be there to pull her back from the edge. Someone who needed a Captain Montgomery. So that’s what she decided to be for Decker. It brought things full-circle, and also called for certain decisions on another front...

HERE, AGAIN

Meanwhile, Beckett also realized that she still needed someone to be there so she wouldn’t have to go it alone.

Castle wasn’t involved in the case this week, or any case for that matter. Which was just strange, because that left him kind of lost in this mystery-less void, only to pop up in Beckett’s darkened office and confess everything he had learned. Hayley had made him see that whether or not Beckett could forgive him once she knew the truth wasn’t his decision to make.

It caught Beckett off-guard, but Castle got out all he needed to say before Esposito walked in the room with new information on the case. Several scenes later, Beckett sits in her office, the lights out, spinning the ring around her finger. Later on she and Castle start to talk about it, but they give up very quickly. “How did we end up here again? You lie to protect me and I lie to protect you.” The protecting each other part of it is all fine and sweet, but even Castle and Beckett were like UGH, HERE AGAIN. Having your characters disparage your own storyline is a clever technique, I’ll give it that. It puts us in the same boat as them.

Beckett didn’t want to talk about it and still needed time to process, but didn’t seem to be harboring hard feelings towards him for erasing his memory (probably because he couldn’t remember doing it). But Castle still complains to Hayley that he doesn’t know if Beckett will forgive him. She knocks some sense into him by offering to investigate LokSat with him instead. In doing so, she makes him realize on his own that he needs to be working with Beckett on this and not investigating behind her back (the thing I can’t see, however, is that if he and Beckett enlist Hayley to help, there’s no way he’s letting Alexis anywhere near this case, right? ... Right?)

Meanwhile, Beckett walked around in a daze and Castle's post-production got to experiment with some muffled sounds, pensive music, and an overall disconnected effect that worked really, really well. The tone of the quiet scenes where she’s just trying to process everything reminded me of the tone in earlier seasons, when she was obsessed with her mom’s case. Of course, this time around she’s more collected, and she’s not going be on her own.

In the end, they both independently concluded that they were sick of the separation and that they need to work together. Castle realized that he couldn’t sit back anymore and Beckett realized she needed his help. It only took us until the end of the episode to get here, but I’m feeling so positive about this that I’m trying not to care. This should have been a natural decision made in the second episode this season. Character regression brought on by fear might have been understandable, but this new decision just feels like another déjà vu.

At least in moving the story forward, the writers tied in Beckett’s past and — very wisely — managed to breeze through this reunion without making it into a big thing.

Notepad:

• “‘For Richard. Without your constant stumbles in life the advice in this book would not have been possible.’ ‘Constant stumbles’?” “Let’s not make this about you.”
•  The return of the secret room in Castle’s P.I. office! They made this set, they need to use it. 
• “Well, they will. Every record falls in the end.” She’s so very unaffected about her accomplishments. 
• “I have been at the edge of that map, and monsters lie there.”
• “For reasons you know all too well. From you. From yourself.” 
• “It’s the cocky ones that are the easiest… you’re so focused on showing off that you don’t notice the matchstick that falls out of your pocket. I’m going to find it, and watch you burn.” … Well, that was dark. 
• “I’m not making any more decisions about LokSat unless I talk to Beckett.” “THAT is the smartest thing I’ve heard all day.” Hayley continues to be one of the most perceptive characters on the show. If she wasn’t around to knock some sense into Castle, he’d still be waffling. 
• “There was a point in my career when I wanted to quit. I lost faith that I became a cop for the right reasons. A man named Roy Montgomery helped me. He was my captain. He didn’t give up on me and I won’t give up on you.” 
• Between the “dazed” effect in some of Beckett’s scenes and the intercut of the CCTV footage with Decker walking up to her father’s office, there were some really nice editing details in this episode.
• “It’s a place to start.”

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Castle 8x14 Review: “The G.D.S.” (Looking Out for You) [Contributor: Hope]

“The G.D.S.”

Original Airdate: March 7, 2016

This episode featured some callbacks to the season three episode “To Love and Die in L.A.” where Castle and Beckett originally went to Los Angeles. But that only highlighted the fact that Beckett wasn’t even in the episode. This was the second episode of the season that Stana Katic hasn’t been a part of. Regardless, it was a strong episode, because it made me care about the LokSat case more than I had before. By combining Castle’s disappearance storyline from season seven with this season’s LokSat mystery, things just became way more interesting.

THE GREATEST DETECTIVES SOCIETY

Castle, Alexis, and Hayley had gone to L.A. with the intent of jogging Castle’s memory and figuring out why he was there a year and a half ago. But they soon got completely sidetracked, because a member of the Greatest Detectives Society had been murdered, and the G.D.S. decided to pit Castle and another potential member against each other to solve the case. Whoever won would be inducted into the club, which had the coolest headquarters. Was it underground? It was really cool and I’m willing to bet that if it was in New York City, Castle would spend way too much of his time there.

The case involved a chain of seemingly unrelated murders on both coasts, so Ryan and Esposito were brought into the mix. The hunt for the murder weapon — a knife that was made into five copies for a movie — lead to some trouble, and eventually to Castle’s terrible movie producer. It’s probably a good thing he won’t be making a sequel.

Castle earned his spot in the G.D.S., but declined their offer and instead let the other detective take it. He said it was because he already worked with the greatest detective in the world, which was really sweet. But was there some sort of catch that you had to always be solving mysteries for the club or something? Couldn’t he have been semi-active member? However, it was a kind gesture and true to character.

MEANWHILE IN THE TWELFTH

Lanie had gone to Ryan with a favor: could he do a background check on her new boyfriend? And also not tell his best friend about it? It was a fairly simple request, one that both hinted that she didn’t want Esposito to react to the news in a childish way and that she wasn’t quite comfortable with telling him.

Of course, Espo got the truth out of Ryan, and they started playing games with Lanie’s mind. Ryan was kind of the evil one here, wasn’t he? I mean, they were both childish, but Ryan was having too much fun with this. For someone who was happy to help, he switched from looking out for his friend to having “fun at Lanie’s expense” rather quickly. However, there’s a bigger question at play: what was the point of these two sabotaging Lanie’s relationship? Why would they want to, without hesitation, do something that could potentially hurt her feelings?

The writers are likely setting the groundwork for these two to get back together. It’s so trope-y and I kind of love it? I’m not condoning the guys’ behavior, because it was childish, but her boyfriend did have some sort of secret that caused Lanie to break up with him anyway. I also don’t think their motives were completely childish — Espo can hide it with immature games, but there’s still something there. They might not have wanted to be engaged for real last season, but maybe they’re moving towards a future where that could someday happen.

THE TRUTH KIND OF REVEALED

While Castle got sidetracked, Alexis didn’t forget about the real reason they had traveled across the country. She started researching a man who was connected to her father’s disappearance, but Hayley warned her against it. “What happens once Castle starts poking around?” All of what she said was true and a legitimate reason to hinder Castle’s investigation, but Alexis couldn’t do it. She didn’t feel right about it, and you could see the internal conflict just in Molly Quinn’s expressions in this scene. Neither of them were completely in the wrong – it was right to protect him, and it was wrong to stand in his way. She snuck out to visit the man’s mother, who brought out an album of photos of her son… and some of her son and Hayley. Alexis ran back to her car, thoroughly freaked out, as we all would be.

She got in her car and Hayley was sitting in the backseat. I guessed as much, because that’s a classic move if there ever was one, and yet it was still awesome. She made a comment that Alexis was just like her father, and her tone was so cold and unfamiliar. Then I spent the entire commercial break ticked off at the show for doing this to her character. The difference between Hayley and Evil Car Hayley was so stark, but believable for a character who had been pretending to be someone else entirely. She has always had a great dynamic with Castle, she’s working for the PI firm, and she has bonded so much with Alexis. I’m all for twists, but taking an enjoyable character and ripping away everything we know about that character is just cruel and completely unsatisfying.

Luckily the next act began, and when Alexis asked Hayley “Are you going to kill me?” Hayley’s tone completely changed. Her delivery of “What? Why would you say that? Alexis, I would never hurt you” was so full of depth and reconciled her initial words with her character. There was a quiet, subtle disappointment in the whole situation, because these two have become such good friends and Hayley realizes then how deep a reveal like this would hit. It was a betrayal without an actual betrayal.

Alexis and Hayley then met back up with Castle at the ridiculously fancy hotel, and Alexis left the room so the other two could talk. It was such a relief that Hayley’s personality is still everything we were lead to believe it was. She kept her word to Lost Months Castle, and that was in character. She had met his father before, who she had promised to keep an eye on his son. She had known Castle shortly during his Lost Months, and he made her promise to never tell him they had met before if they met again. Of course, that seemed wildly out of character for Castle, “curious by nature” as he is. Why would he want to forget everything that happened and never look into the case again?

Castle then remarked that nothing she said explained why she stayed and joined him and Alexis as a business partner and friend. Her answer made for one of best lines of the episode: “I’m fond of you, Rick. And I adore your daughter. And after a lifetime of having no one to care about, I wanted to keep an eye out on you two.” Toks Olagundoye has been a great addition to the cast, and this scene proved it. The connection between these three characters is so strong that it’s as if they’ve known each other for seasons (well, I guess they kind of have...), and it’s in no small part to her acting. I’m so glad they are keeping her around. And there’s something to be said about how Castle simply believes her. She could be making up this whole thing for all he knows, and he doesn’t think twice. He trusts their friendship that much. Of course, she won’t tell him what happened, and when he remarks on how she can’t trust him, she responds, “It’s not about trust.” It’s about safety — his and Beckett’s.

Castle says he still won't let it go, so Hayley keeps her second promise — to let him unlock a secret website, using a password from a story he wrote when he was young, which led to a video of himself. It wasn't the new information imparted by his message about his time away (working on a special CIA case for two weeks that had something to do with Bracken and LokSat) that was so important. It was that Lost Months Castle told Castle that he wiped his memory to keep Kate alive. And that if he investigates it, and if she finds out the truth, she will die. Castle also realizes that the FBI agents’ deaths are indirectly his fault, and I’m sure he’ll end up blaming himself for the break-up as well. So much angst... but — FINALLY — good angst.

Notepad:

• “Tell them I said hi, they love me!” Cut to: “He’s a giant pain.”
• “Oh, they’re the ones that ruined the Nikki Heat movie franchise.” “Not ruined. Destroyed, terminated, extirpated, vaporized, eviscerated.” “Do you plan on running through the full thesaurus?” 
• Hayley: “I hate to burst your fanboy bubble, but we have to know if this is on the up and up.” Castle: *turns to man* “Is this on the up and up?” Man: “Yes.” 
• “And actors, who are borderline sociopathic, by the way.” “Oh, I know it.” So meta. 
• I love how Hayley tolerates Castle in her own way, until she’s just like, “God have mercy.”
• “I’m leaning between [wearing] something I brought and something Rick is going to buy me.” Castle: *hands over credit card* 
• Castle’s investigation lacked the “sophistication” the G.D.S. expected. Dudes, Castle’s crime solving techniques are many things, but not that. If they’ve been watching him as a potential member, they should probably know this.
• “You realize she picked your pocket.” “Oh, yes.” Now THAT was sophisticated. 
• “Not for me. I already work with the best detective in the world, and I can’t wait to get back to her.” [Awwwwww] “You just keep getting more and more interesting, Mr. Castle. We’re going to have to keep an eye on you.” 
• Lanie coming after Ryan and Espo with a fire extinguisher was awesome and also really unexpected. 
• “If you see this, you are an idiot.” Lost Months Castle is not very nice to himself.
• I wonder if Hayley’s twist was planned from the beginning of the season. I makes me want to go back through the season and hunt for clues.
• Castle returns Monday, March 21st. The upside to the really long winter hiatus is that we don’t have to endure mini-hiatuses that often.

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