The boys need a buffer, Castle wants to surprise Beckett for their first anniversary and a murder prompts an investigation into New York’s elite. “The Last Seduction” written by Rob Hanning and directed by John Terlesky is the penultimate episode heading into the fall finale.
There was a lot of hype for “The Good, the Bad and the Baby” so much so that we were worried this could have been yet another disappointing example of putting an episode on display because there was something wrong with it. Luckily, not the case this time around. But it could been done with less hype (and less sneak peeks) to let it stand on its own merits. The problem with hyping episodes is that that could backfire, especially if the episode isn’t all that great. In a nutshell, this episode had some good one-liners, Ryan who is no baby whisperer, someone who’s not a baby person, and a semi-interesting case.
Nothing irritates me more than when questions lead to more questions and there’s not enough answers to make it at least seem somewhat palatable. This is how I feel about “Montreal.” And it’s how I feel about this so-called new mythology in general. I didn’t hate this episode, I didn’t like it either. I liked it slightly better than “Driven.” But it ranks right there with “Need to Know” from last year.
It is almost impossible to begin with what we liked about this episode because there were so many good elements. For those who didn’t know, this episode was added late in the season in early February. The show’s staff had already planned out for the most where the series was going to end up. This episode is probably best viewed as a stand-alone episode and away from the season as a whole. They filmed the episode in three days and between other episodes.
After three week hiatus, Castle returned with the first solo offering Chad Creasey. The promo for this that followed “The Wrong Stuff” didn’t do this episode any favors because almost immediately, people were moaning and groaning. In way, they were right to mumble. I don’t blame this on Mr. Creasey. Instead, I view this as a systematic failure of the leadership overall on the show. Once again, this was an episode where they had to change character histories to fit the plot. Writing to plot has become the norm this season and it was ever present in this episode.
“The Way of the Nina” was the perfect episode re-center the Castle universe with the right elements of comedy, drama and suspense. It was great to see Arye Gross back as Dr. Perlmutter. He gets away with teasing Castle every chance we get. We said with a few weeks ago that the new writers tend to get the dynamic of the show that is now lost on the veteran writers
I’ve rewatched the episode a few times since it aired to get another feel for the episode and each time I’ve walked away with a different feeling. It’s not entirely bad but this episode speaks to the problems with season seven over all: repetitiveness and the need to throw in call-backs to get fans all giddy.
“Room 147” is Adam Frost’s first solo episode after having had a hand in last season’s “The Squab and the Quail.” He has been with the show for a while as a writer’s assistant. We like what we saw and we hope to see more from Adam in the near future. This episode had a little bit of everything, and that everything is what made the show successful. Get a paper and pen ready because with this episode you’ll need it.
What would you do if you were faced with leading the investigation into the assassination attempt of the person who was responsible for the murder of loved one? Most people would stand by and let it happen. But Kate Beckett isn’t like most people. And that is what makes her an extraordinary person and a detective. She does the right thing, even when it hurts.
Post Traumatic Stress Disorder is a serious mental health condition that affects more than just soldiers and emergency services personnel. It can affect anyone who’s experienced a traumatic event. Detective Kate Beckett still has the physical scars from the shooting but she is also suffering from the psychological effects. Her symptoms don’t go unnoticed by those around her. The depiction of Beckett’s of PTSD is about as honest and real as they come.